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 Estonia and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Seoul and Spokane.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator 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 Fatback Band to the funk 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 Television. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every John Coltrane 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
The Zeros,
Anthony Braxton,
The Black Dice,
Loose Ends,
the Slits,
Theoretical Girls,
The Sonics,
Ralphi Rosario,
Deutsch Amerikanische Freundschaft,
Grey Daturas,
Nick Fraelich,
Rowland S Howard / Lydia Lunch,
Pet Shop Boys,
The Sisters of Mercy,
Ten City,
Lightning Bolt,
Patti Smith,
Darondo,
The Flesh Eaters,
Angels of Light & Akron/Family,
Henry Cow,
Jeff Lynne,
Bronski Beat,
Goldenarms,
The Golliwogs,
Lakeside,
Buzzcocks,
The United States of America,
Thee Headcoats,
Infiniti,
The Kinks,
Hardrive,
Yusef Lateef,
Sun Ra,
Tears for Fears,
The Gories,
Chris Corsano,
Crooked Eye,
John Coltrane,
the Normal,
DNA,
Bobby Byrd,
Art Ensemble Of Chicago,
The Fuzztones,
Marc Almond,
D'Angelo,
Interpol,
The Shadows of Knight,
Flash Fearless,
The Fortunes,
Cal Tjader,
Audionom,
Intrusion,
Flipper,
Nas,
The Smoke,
Lafayette Afro Rock Band,
Wire,
Whodini,
Danielle Patucci,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.