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 Serbia and from Paris.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1966 to 1976.
I'm losing my edge.
To all the kids in Columbus and Portland.
I'm losing my edge to the art-school Woodstock 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 Soft Boys practice in a loft in Cambridge.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Deepchord to the punk kids.
I played it at the Crocodile.
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 Black Flag. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
48th St. Collective,
The Barracudas,
Boredoms,
Crash Course in Science,
Eric Dolphy,
John Coltrane,
Scan 7,
Kings Of Tomorrow,
Rapeman,
Delta 5,
Ajijia Myrayebe,
Fela Kuti,
Cameo,
Icehouse,
Simply Red,
Marine Girls,
Eve St. Jones,
Harry Pussy,
Roy Ayers Ubiquity,
Funkadelic,
Deadbeat,
Vaughan Mason & Crew,
Quantec,
Eurythmics,
Godley & Creme,
Mary Jane Girls,
Brick,
the Soft Cell,
Mo-Dettes,
The Birthday Party,
Index,
Fad Gadget,
Isaac Hayes,
Au Pairs,
Jesper Dahlbäck,
Jeff Lynne,
Niagra,
Michelle Simonal,
James White and The Blacks,
Marmalade,
The Victims,
Bluetip,
Reagan Youth,
Al Stewart,
The Peanut Butter Conspiracy,
Grandmaster Flash and the Furious Five,
Sunsets and Hearts,
The Gladiators,
Bootsy Collins,
The Fuzztones,
Sarah Menescal,
Avey Tare's Slasher Flicks,
Terry Callier,
Talk Talk,
X-101,
The Remains,
Joy Division,
Nas,
The Walker Brothers,
Henry Cow,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.