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 Micronesia and from Cairo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
I'm losing my edge to the art-school Bremen 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Vaughan Mason & Crew to the techno kids.
I played it at the Roxy.
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 Warsaw. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Section 25,
the Association,
Soft Cell,
Motorama,
The Electric Prunes,
James Chance & The Contortions,
Half Japanese,
Metal Thangz,
Junior Murvin,
Public Image Ltd.,
the Swans,
The Evens,
Sex Pistols,
LL Cool J,
Ohio Players,
Curtis Mayfield,
L. Decosne,
Hashim,
Mark Hollis,
Altered Images,
Justin Hinds & The Dominoes,
Tropical Tobacco,
Nico,
The Misunderstood,
John Cale,
Desert Stars,
Terror Squad Feat. Camron,
Red Lorry Yellow Lorry,
The Human League,
Terry Callier,
Kango’s Stein Massive,
The Last Poets,
Fort Wilson Riot,
The Cowsills,
the Human League,
Robert Görl,
Black Bananas,
Chrome,
Colin Newman,
Aural Exciters,
The Gladiators,
Easy Going,
The Five Americans,
Don Cherry,
Banda Bassotti,
Vainqueur,
Jeff Lynne,
The Busters,
Scratch Acid,
Maleditus Sound,
Teenage Jesus and the Jerks,
Drexciya,
Be Bop Deluxe,
Deadbeat,
Kauko Röyhkä ja Narttu,
Gong,
Jimmy McGriff,
Bauhaus,
Al Stewart,
Toni Rubio,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.