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 Korea South and from Beijing.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Toronto 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 Feelies practice in a loft in Haledon.
I was working on the spring reverb 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 Pagans to the electroclash kids.
I played it at the Hacienda.
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 Sly & The Family Stone. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
A Certain Ratio,
Soft Machine,
Peter and Kerry,
Buzzcocks,
The Men They Couldn't Hang,
Marvin Gaye,
Vladislav Delay,
Public Image Ltd.,
Steve Hackett,
Avey Tare,
the Normal,
ABBA,
Kenny Larkin,
Bill Near,
Model 500,
Popol Vuh,
Jacob Miller,
Art Ensemble Of Chicago,
Crash Course in Science,
Rotary Connection,
Sonny Sharrock,
The Move,
The United States of America,
New Age Steppers,
Juan Atkins,
The Smiths,
Sun Ra Arkestra,
Sam Rivers,
Radiohead,
John Lydon,
David Bowie,
Intrusion,
Con Funk Shun,
Laurel Aitken,
Fatback Band,
Pulsallama,
Livin' Joy,
ABC,
Sex Pistols,
Amon Düül II,
Minnie Riperton,
The American Breed,
Isaac Hayes,
KRS-One,
Marshall Jefferson,
Faust,
Scrapy,
Animal Collective,
Blossom Toes,
Groovy Waters,
Orchestral Manoeuvres in the Dark,
The Jesus and Mary Chain,
B.T. Express,
Half Japanese,
Bang On A Can,
Rosa Yemen,
Roxette,
Wasted Youth,
Camberwell Now,
Aloha Tigers,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.