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 Moldova and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1976.
I'm losing my edge.
To all the kids in Calgary and Spokane.
I'm losing my edge to the art-school New York 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Albert Ayler to the techno 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 Avey Tare & Kría Brekkan. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Bill Near 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Erasure,
Public Image Ltd.,
Fifty Foot Hose,
Loose Ends,
Bill Wells,
Charles Mingus,
Bang on a Can All-Stars,
Wighnomy Brothers & Robag Wruhme,
Sight & Sound,
Judy Mowatt,
Hashim,
Ornette Coleman,
Fat Boys,
Dr. Dre and Snoop Doggy Dog,
Blancmange,
Rowland S Howard / Lydia Lunch,
Funkadelic,
In Retrospect,
Von Mondo,
Graham Central Station,
Joey Negro,
June of 44,
Echo & the Bunnymen,
Zero Boys,
Michelle Simonal,
Subhumans,
Neil Young & Crazy Horse,
Can,
David McCallum,
Faraquet,
Nirvana,
Deepchord,
Warren Ellis,
R.M.O.,
New Order,
DeepChord presents Echospace,
The Real Kids,
Television,
The Mojo Men,
Sex Pistols,
Gang of Four,
Oblivians,
The American Breed,
10cc,
James White and The Blacks,
The Names,
K-Klass,
Severed Heads,
Q and Not U,
Barrington Levy,
Dave Gahan,
The Doors,
Chris Corsano,
Nick Fraelich,
Rod Modell,
The J.B.'s,
Marshall Jefferson,
ABC,
Chrome,
Royal Trux,
Blossom Toes,
Ultravox, Ultravox, Ultravox, Ultravox.
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.