Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from South Sudan and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1973.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Calgary kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing the Soft Cell to the techno kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Marine Girls. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Ice-T record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Robert Görl record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
ABBA,
the Sonics,
Ronnie Foster,
The Smiths,
The Sonics,
Roy Ayers Ubiquity,
The Selecter,
Barrington Levy,
Trumans Water,
Carl Craig,
Livin' Joy,
Tomorrow,
Peter and Kerry,
A Flock of Seagulls,
Ossler,
Can,
R.M.O.,
Theoretical Girls,
Unrelated Segments,
Aaron Thompson,
Ponytail,
The Modern Lovers,
Pharaoh Sanders and the Fire Engines,
Robert Hood,
Brass Construction,
Lou Reed & John Cale,
Lungfish,
Hasil Adkins,
Ken Boothe,
The Red Krayola,
Juan Atkins,
Morten Harket,
The United States of America,
Soul Sonic Force,
Gary Puckett & The Union Gap,
Amazonics,
Fela Kuti,
The Music Machine,
Jeff Mills,
Technova,
Ohio Players,
The Fire Engines,
Alice Coltrane,
Circle Jerks,
B.T. Express,
Grauzone,
L. Decosne,
Excepter,
Brothers Johnson,
Bootsy Collins,
Lonnie Liston Smith,
Young Marble Giants,
Scott Walker,
David Bowie,
Strawberry Alarm Clock,
Banda Bassotti,
The Alarm Clocks,
Malaria!,
a-ha, a-ha, a-ha, a-ha.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.