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 Czech Republic and from New York.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Spokane and Cairo.
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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 The Walker Brothers to the rap 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 Youth Brigade. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Essential Logic 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum 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 a 808.
I hear that you and your band have sold your 808 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?
Archie Shepp,
Das Ding,
Flamin' Groovies,
The Motions,
Youth Brigade,
The Sound,
Michelle Simonal,
Rosa Yemen,
Matthew Bourne,
Scratch Acid,
Smog,
Main Source,
London Community Gospel Choir,
Mandrill,
Tom Boy,
Carl Craig,
Rhythm & Sound,
Fatback Band,
Patti Smith,
OOIOO,
Godley & Creme,
Rakim,
Pulsallama,
Stetsasonic,
Aswad,
Sun Ra Arkestra,
Avey Tare & Kría Brekkan,
The Gladiators,
Bobby Hutcherson,
Pete Rock & C.L. Smooth,
Supertramp,
Letta Mbulu,
Chrome,
Deutsch Amerikanische Freundschaft,
Curtis Mayfield,
Oppenheimer Analysis,
Roxy Music,
Toni Rubio,
Dead Boys,
Can,
Audionom,
Magazine,
Eric Dolphy,
The Raincoats,
Arthur Verocai,
Ohio Players,
The Dave Clark Five,
Andrew Ashong & Theo Parrish,
In Retrospect,
Surgeon,
The Knickerbockers,
Buzzcocks,
the Sonics,
Lyres,
DJ Style,
Wasted Youth,
the Bar-Kays,
Alison Limerick,
R.M.O.,
The Techniques,
Larry & the Blue Notes,
Prince Buster,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.