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 Bahamas and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Residents to the jazz kids.
I played it at the Astoria.
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 Rosa Yemen. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 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 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Isaac Hayes,
Roy Ayers,
Cameo,
Lee Hazlewood,
Oppenheimer Analysis,
La Düsseldorf,
The Standells,
Malaria!,
Lalo Schifrin,
Monks,
Mark Hollis,
Goldenarms,
Ultra Naté,
Deepchord,
Alphaville,
Marc Almond,
The Star Department,
Mr. Review,
Delta 5,
Frankie Knuckles,
The Mojo Men,
Spandau Ballet,
Connie Case,
Amazonics,
The J.B.'s,
Newcleus,
R.M.O.,
The Beau Brummels,
Derrick Morgan,
Visionaries,LMNO, T- Love & Iriscience,
Grey Daturas,
Tom Boy,
Ossler,
Soul II Soul,
L. Decosne,
EPMD,
Sad Lovers and Giants,
Wolf Eyes,
Bang on a Can All-Stars,
Rosa Yemen,
Slave,
The Techniques,
Notorious Big And Bone Thugs,
Terry Callier,
Lebanon Hanover,
Pagans,
Dead Boys,
New Age Steppers,
H. Thieme,
The Leaves,
Curtis Mayfield,
Sixth Finger,
Stiv Bators,
Lafayette Afro Rock Band,
Scrapy,
Black Moon,
The Last Poets,
Q and Not U,
Essential Logic,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.