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 St Kitts & Nevis and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Manchester and Shanghai.
I'm losing my edge to the art-school Tehran 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 Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Young Marble Giants to the dance 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 La Düsseldorf. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every The Fire Engines 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb 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 spring reverb.
I hear that you and your band have sold your spring reverb 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?
Barrington Levy,
Eric B and Rakim,
Wighnomy Brothers & Robag Wruhme,
Pet Shop Boys,
Excepter,
The Trojans,
Supertramp,
Warren Ellis,
Can,
Boogie Down Productions,
ABC,
Ice-T,
This Heat,
Sunsets and Hearts,
Country Teasers,
Skarface,
Rowland S Howard / Lydia Lunch,
Lafayette Afro Rock Band,
Khruangbin,
Byron Stingily,
Sarah Menescal,
Susan Cadogan,
Second Layer,
Jacques Brel,
The Smoke,
Flash Fearless,
Arab on Radar,
Robert Wyatt,
The Peanut Butter Conspiracy,
Fugazi,
Isaac Hayes,
Malaria!,
Pere Ubu,
The West Coast Pop Art Experimental Band,
Con Funk Shun,
Outsiders,
Clear Light,
Delta 5,
Roxy Music,
Thee Headcoats,
Banda Bassotti,
Heavy D & The Boyz,
Robert Hood,
Ponytail,
London Community Gospel Choir,
Sight & Sound,
Ultramagnetic MC's,
Circle Jerks,
Eli Mardock,
Tommy Roe,
Man Eating Sloth,
The Alarm Clocks,
Lindisfarne,
Blancmange,
The Barracudas,
Faust,
The Detroit Cobras,
Sun Ra Arkestra,
Terrestrial Tones,
Thompson Twins,
Brand Nubian,
Erykah Badu,
China Crisis, China Crisis, China Crisis, China Crisis.
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.