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 Uruguay and from Calgary.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Glasgow.
I'm losing my edge to the art-school Madrid 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 linndrum 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 The Gun Club 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 The Offenders. All the underground hits.
All June Days tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal crunk 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 an oboe and a guitar 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 harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Flash Fearless,
The Names,
The Misunderstood,
Deadbeat,
Shoche,
KRS-One,
X-101,
Sandy B,
MDC,
Joy Division,
R.M.O.,
Index,
Kerrie Biddell,
Harpers Bizarre,
Liliput,
Minnie Riperton,
The Human League,
Rahsaan Roland Kirk,
The Searchers,
Crash Course in Science,
Funkadelic,
Susan Cadogan,
the Fania All-Stars,
Warren Ellis,
Subhumans,
Parry Music,
Barbara Tucker,
Nico,
Ken Boothe,
June of 44,
John Coltrane,
The J.B.'s,
Hashim,
Dark Day,
Underground Resistance,
The Zeros,
Reagan Youth,
The Last Poets,
Jacques Brel,
The West Coast Pop Art Experimental Band,
The Red Krayola,
The Sonics,
David McCallum,
cv313,
The Shadows of Knight,
Nick Cave & The Bad Seeds,
Patti Smith,
Kenny Larkin,
Easy Going,
Tears for Fears,
Desert Stars,
Electric Light Orchestra,
Ultimate Spinach,
The Doobie Brothers,
Black Flag,
Scratch Acid,
Ronnie Foster,
Boredoms,
Teenage Jesus and the Jerks,
Buzzcocks,
Sugar Minott,
48th St. Collective,
Inner City, Inner City, Inner City, Inner City.
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.