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 Equatorial Guinea and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school Woodstock 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 güiro 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 Aaron Thompson to the techno 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 Mars. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal techno 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 güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Cheater Slicks,
Royal Trux,
The Jesus and Mary Chain,
Notorious BIG live in Amsterdam,
Severed Heads,
Black Pus,
Youth Brigade,
Grandmaster Flash,
The Walker Brothers,
The Young Rascals,
Funky Four + One,
8 Eyed Spy,
Harmonia,
Derrick Morgan,
kango's stein massive,
Soul II Soul,
Skriet,
Section 25,
The Mummies,
D'Angelo,
Sonic Youth,
Lonnie Liston Smith,
Idris Muhammad,
The Evens,
DJ Sneak,
Sixth Finger,
Juan Atkins,
The Fortunes,
Yazoo,
Andrew Ashong & Theo Parrish,
The Wake,
Nirvana,
Alton Ellis,
Soft Machine,
Scan 7,
Glenn Branca,
The New Christs,
Glambeats Corp.,
Minny Pops,
The Searchers,
Loose Ends,
Pere Ubu,
Orchestral Manoeuvres in the Dark,
Arab on Radar,
Grandmaster Flash and the Furious Five,
Second Layer,
Talk Talk,
The Modern Lovers,
Y Pants,
Kurtis Blow,
The Gun Club,
Babytalk,
Rowland S Howard / Lydia Lunch,
The Saints,
Ash Ra Tempel,
Throbbing Gristle,
Lindisfarne,
Harry Pussy,
Rhythm & Sound,
The Alarm Clocks,
Jesper Dahlback,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.