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 Cambodia and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Stockholm 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the güiro 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 Velvet Underground to the techno kids.
I played it at the Spitz.
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 Das Ding. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and an oboe 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 chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Mars,
Harpers Bizarre,
The Slackers,
The Cosmic Jokers,
Ken Boothe,
Ohio Players,
Avey Tare & Kría Brekkan,
Althea and Donna,
Barclay James Harvest,
Pet Shop Boys,
Thompson Twins,
Fat Boys,
Warsaw,
Aaron Thompson,
Louis and Bebe Barron,
Lou Reed & Metallica,
D'Angelo,
Animal Collective,
Justin Hinds & The Dominoes,
Al Stewart,
John Coltrane,
Whodini,
Anakelly,
Dorothy Ashby,
Symarip,
Bill Wells,
Fad Gadget,
Camouflage,
Television,
Joy Division,
The Associates,
The Grass Roots,
The Happenings,
Underground Resistance,
Adolescents,
The Invisible,
B.T. Express,
Arcadia,
The Walker Brothers,
Make Up,
John Holt,
Minutemen,
Cameo,
Crooked Eye,
Lizzy Mercier Descloux,
Little Man,
Cecil Taylor,
Bobby Sherman,
Pylon,
Cybotron,
Bobby Byrd,
Barbara Tucker,
Cabaret Voltaire,
Minor Threat,
Sonny Sharrock,
X-101,
Marine Girls,
The Music Machine,
Captain Beefheart & His Magic Band,
F. McDonald,
Blossom Toes,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.