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 Canada and from Beijing.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Portland.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Anthony Braxton to the rock 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 Crispian St. Peters. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every the Soft Cell 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Eric Dolphy,
The Cowsills,
Jawbox,
Todd Rundgren,
Orchestral Manoeuvres in the Dark,
John Lydon,
Mantronix,
Roy Ayers,
The Gladiators,
The Fortunes,
The Offenders,
The American Breed,
Lou Reed,
The Star Department,
Fatback Band,
The Misunderstood,
Röyhkä ja Rättö ja Lehtisalo,
Whodini,
Marc Romboy vs. Booka Shade,
Althea and Donna,
Stockholm Monsters,
LL Cool J,
Inner City,
The Associates,
David McCallum,
Camron Feat. Memphis Bleek And Beenie Seigel,
Half Japanese,
The Doobie Brothers,
the Bar-Kays,
Donny Hathaway,
The Moody Blues,
Rotary Connection,
The Doors,
Groovy Waters,
The Birthday Party,
Scratch Acid,
Gang Gang Dance,
Nick Fraelich,
Quando Quango,
The Smiths,
John Coltrane,
The Kinks,
Gabor Szabo,
Jeru the Damaja,
The Slackers,
The Litter,
Art Ensemble Of Chicago,
New Order,
Essential Logic,
Pole,
Agent Orange,
Popol Vuh,
Talk Talk,
Gichy Dan,
Joe Smooth,
Rufus Thomas,
D'Angelo,
Electric Prunes,
Rosa Yemen,
The Martian,
The Fire Engines,
E-Dancer,
Grey Daturas,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.