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 Copenhagen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1977.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school London 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Suburban Knight to the grime kids.
I played it at Cafe Wha.
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 Peter & Gordon. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro 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 arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
Bobby Byrd,
Alice Coltrane,
The Modern Lovers,
Eurythmics,
Kayak,
Kings Of Tomorrow,
Fat Boys,
Matthew Halsall,
The Happenings,
Bronski Beat,
Ludus,
the Bar-Kays,
Subhumans,
The Remains,
Kango’s Stein Massive,
Popol Vuh,
The Busters,
Tropical Tobacco,
Mark Hollis,
Mo-Dettes,
Deepchord,
The Residents,
Janne Schatter,
Visage,
The Five Americans,
Pantytec,
Rhythim Is Rhythim,
Rufus Thomas,
The Fugs,
Rahsaan Roland Kirk,
Sandy B,
Echo & the Bunnymen,
The J.B.'s,
Swans,
Glenn Branca,
Mad Mike,
Delon & Dalcan,
The Chocolate Watch Band,
Graham Central Station,
London Community Gospel Choir,
Flipper,
The Electric Prunes,
Tres Demented,
Reuben Wilson,
Bang on a Can All-Stars,
Eden Ahbez,
The Royal Family And The Poor,
Brand Nubian,
David McCallum,
H. Thieme,
A Certain Ratio,
Radiopuhelimet,
Rekid,
Negative Approach,
The Pretty Things,
Juan Atkins,
Minor Threat,
Brass Construction,
Jeru the Damaja,
Joey Negro,
The Victims, The Victims, The Victims, The Victims.
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.