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 Marshall Islands and from Milan.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
I'm losing my edge to the art-school Beijing 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 arpeggiator 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 Scrapy to the disco kids.
I played it at the 40 Watt.
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 Fluxion. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Animal Collective 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 '70s.
I hear you're buying a harpsichord 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 harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Archie Shepp,
Lou Reed & John Cale,
Pere Ubu,
The Standells,
Unrelated Segments,
The Searchers,
Motorama,
The Mummies,
The Moleskins,
The Offenders,
Monks,
Ultramagnetic MC's,
Soft Cell,
Barrington Levy,
Ronan,
Pharoah Sanders,
Q65,
Nirvana,
Crooked Eye,
Dead Boys,
the Human League,
Glambeats Corp.,
Drexciya,
Sandy B,
Oppenheimer Analysis,
Brass Construction,
Rod Modell,
London Community Gospel Choir,
Mo-Dettes,
Carl Craig,
Robert Wyatt,
Gil Scott-Heron & Brian Jackson,
Gian Franco Pienzio,
Public Image Ltd.,
the Normal,
Tom Boy,
Slick Rick,
Jacob Miller,
Pussy Galore,
Bauhaus,
Maleditus Sound,
The Victims,
Country Joe & The Fish,
Derrick Morgan,
Bootsy's Rubber Band,
Model 500,
Slave,
R.M.O.,
Selector Dub Narcotic,
Glenn Branca,
Be Bop Deluxe,
The Associates,
K-Klass,
Ornette Coleman,
Todd Terry,
James White and The Blacks,
Con Funk Shun,
Stereo Dub,
Newcleus,
the Sonics,
Amon Düül II,
Ajijia Myrayebe,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.