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 Zambia and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Sound Behaviour to the techno 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 X-101. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
The Standells,
Moss Icon,
Mission of Burma,
Chrome,
Bobby Womack,
Deakin,
Man Eating Sloth,
Liaisons Dangereuses,
Arcadia,
Ronnie Foster,
Supertramp,
Frankie Knuckles,
Lakeside,
Guru Guru,
MDC,
Youth Brigade,
Section 25,
Scratch Acid,
Sly & The Family Stone,
Smog,
The Dead C,
Circle Jerks,
AZ,
Kurtis Blow,
Crispian St. Peters,
Ash Ra Tempel,
Marshall Jefferson,
Pagans,
Lafayette Afro Rock Band,
KRS-One,
Matthew Halsall,
Harpers Bizarre,
the Swans,
Gang Gang Dance,
Dark Day,
Ultimate Spinach,
Wings,
Lower 48,
Public Enemy,
Sun City Girls,
Crooked Eye,
Janne Schatter,
Barrington Levy,
Buzzcocks,
Warren Ellis,
Eurythmics,
Sexual Harrassment,
Surgeon,
In Retrospect,
Cal Tjader,
Avey Tare,
The Mummies,
Roger Hodgson,
Niagra,
The Stooges,
Unrelated Segments,
Soul Sonic Force,
The Electric Prunes,
The Remains, The Remains, The Remains, The Remains.
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.