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 Brazil and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Philadelphia 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 Sight & Sound to the funk 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 The United States of America. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Bobby Womack record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
The Slackers,
The Sound,
Delta 5,
Sam Rivers,
Joy Division,
Crash Course in Science,
The Fortunes,
Lee Hazlewood,
EPMD,
Thee Headcoats,
Amon Düül,
Grandmaster Flash and the Furious Five,
Ultimate Spinach,
Yazoo,
Scion,
Jerry's Kids,
Young Marble Giants,
Johnny Osbourne,
Quadrant,
Skarface,
Rites of Spring,
Tomorrow,
Matthew Halsall,
The Dead C,
Arab on Radar,
Be Bop Deluxe,
Lou Christie,
Vaughan Mason & Crew,
Fort Wilson Riot,
Bizarre Inc.,
Lalo Schifrin,
The Sonics,
Steve Hackett,
Röyhkä ja Rättö ja Lehtisalo,
Carl Craig,
Gil Scott-Heron & Brian Jackson,
New Age Steppers,
James White and The Blacks,
The Young Rascals,
The Leaves,
Clear Light,
Avey Tare's Slasher Flicks,
K-Klass,
Public Enemy,
Circle Jerks,
The Flesh Eaters,
Slave,
Grauzone,
The Jesus and Mary Chain,
Newcleus,
The Gap Band,
The Fire Engines,
Yusef Lateef,
DNA,
Sound Behaviour,
the Slits,
Khruangbin,
8 Eyed Spy,
Manfred Mann's Earth Band,
Livin' Joy,
Kool G Rap & DJ Polo,
Peter and Kerry,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.