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 Indonesia and from Mexico City.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lille and Bologna.
I'm losing my edge to the art-school Houston 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 Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Harpers Bizarre to the rock 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 The Seeds. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Jandek,
John Holt,
The Neon Judgement,
Camouflage,
Sunsets and Hearts,
The Searchers,
The Moody Blues,
Bronski Beat,
Popol Vuh,
Black Sheep,
Tomorrow,
Eric Dolphy,
Bill Near,
Talk Talk,
Mark Hollis,
Eyeless In Gaza,
Dual Sessions,
CMW,
The Motions,
Second Layer,
Dawn Penn,
Toni Rubio,
Spandau Ballet,
Crime,
Q and Not U,
Marine Girls,
Fela Kuti,
Sight & Sound,
Blancmange,
Man Eating Sloth,
Brand Nubian,
The Sisters of Mercy,
Nick Fraelich,
Siouxsie and the Banshees,
The Index,
DNA,
The Barracudas,
Ultramagnetic MC's,
Alison Limerick,
Stiv Bators,
Cluster,
K-Klass,
the Bar-Kays,
Depeche Mode,
The Alarm Clocks,
New Age Steppers,
Dorothy Ashby,
Matthew Halsall,
Sonny Sharrock,
Peter & Gordon,
Tommy Roe,
Lebanon Hanover,
Sarah Menescal,
Boogie Down Productions,
Con Funk Shun,
DeepChord presents Echospace,
Soul II Soul,
The Dead C,
Cymande,
Rakim,
Blossom Toes,
The Names,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.