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 Paraguay and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Tehran and Milan.
I'm losing my edge to the art-school Manchester 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 1968 at the first Can practice in a loft in Cologne.
I was working on the linndrum 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 Cosmic Jokers to the punk 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 the Germs. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Grandmaster Flash,
Ultra Naté,
John Holt,
Crime,
Kas Product,
Mr. Review,
Desert Stars,
June of 44,
The Gladiators,
Gabor Szabo,
Girls At Our Best!,
Das Ding,
Sunsets and Hearts,
Camouflage,
Gang Gang Dance,
Roy Ayers,
MDC,
Amon Düül II,
Sparks,
Bizarre Inc.,
Second Layer,
Michelle Simonal,
Con Funk Shun,
Lou Reed,
Lonnie Liston Smith,
Sticky Fingaz feat. Raekwon,
Lou Reed & John Cale,
Roy Ayers Ubiquity,
Liaisons Dangereuses,
John Coltrane,
Infiniti,
PIL,
The Buckinghams,
The Star Department,
Yellowson,
Fort Wilson Riot,
Gang Green,
Faust,
Ten City,
Echo & the Bunnymen,
Roxette,
Country Joe & The Fish,
U.S. Maple,
Porter Ricks,
Basic Channel,
Blancmange,
Von Mondo,
Avey Tare,
Terrestrial Tones,
Letta Mbulu,
Average White Band,
Alison Limerick,
Delon & Dalcan,
Fear,
Pantaleimon,
Moss Icon,
The Wake,
Peter & Gordon,
Arab on Radar,
Sällskapet,
Morten Harket,
The Motions,
Adolescents,
Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band.
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.