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 Tuvalu and from Calgary.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Lyon.
I'm losing my edge to the art-school Delhi 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Liliput to the techno kids.
I played it at the Crocodile.
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 Connie Case. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a guitar 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pretty Things,
Yellowson,
Eve St. Jones,
Babytalk,
Ken Boothe,
Popol Vuh,
John Coltrane,
Fad Gadget,
Pierre Henry,
Essential Logic,
Massinfluence,
Charles Mingus,
Red Lorry Yellow Lorry,
Bootsy Collins,
The Alarm Clocks,
Kool Moe Dee,
a-ha,
Grauzone,
The Invisible,
Symarip,
Can,
Flamin' Groovies,
Urselle,
The Kinks,
Yaz,
Pantaleimon,
Yazoo,
Neu!,
Rapeman,
Gang Starr,
KRS-One,
Hasil Adkins,
Q65,
The Doobie Brothers,
Patti Smith,
Lizzy Mercier Descloux,
Crash Course in Science,
Sound Behaviour,
Laurel Aitken,
Monolake,
R.M.O.,
Subhumans,
World's Most,
Procol Harum,
Main Source,
Matthew Halsall,
Rowland S Howard / Lydia Lunch,
Wings,
The Chocolate Watch Band,
Bill Near,
Ohio Players,
Cybotron,
Panda Bear,
Röyhkä ja Rättö ja Lehtisalo,
Sarah Menescal,
Radio Birdman,
Jesper Dahlback,
Circle Jerks,
Beasts of Bourbon,
Blossom Toes,
Scratch Acid,
Royal Trux,
The Mummies, The Mummies, The Mummies, The Mummies.
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.