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 Niger and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1964 to 1973.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Portland 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 synthesizer 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 Jesper Dahlback to the rock 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 Derrick May. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Sun Ra record on German import.
I heard that you have a white label of every seminal grunge 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar 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,
Fear,
The Blackbyrds,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Siglo XX,
48th St. Collective,
Schoolly D,
Pharaoh Sanders and the Fire Engines,
Spandau Ballet,
Kenny Larkin,
The Cure,
Essential Logic,
Black Moon,
Sarah Menescal,
Bizarre Inc.,
Banda Bassotti,
Pagans,
Neil Young & Crazy Horse,
Ultra Naté,
the Normal,
Mr. Review,
Curtis Mayfield,
Susan Cadogan,
The Blues Magoos,
Skaos,
Shuggie Otis,
Sister Nancy,
Q and Not U,
Kayak,
Eve St. Jones,
Maurizio,
Main Source,
Sällskapet,
Yaz,
Echospace,
Graham Central Station,
Faust,
Lower 48,
Suicide,
The Index,
Johnny Osbourne,
Alison Limerick,
Half Japanese,
Second Layer,
Nico,
Joe Smooth,
Fatback Band,
Spoonie Gee,
Fluxion,
The Tremeloes,
Lou Reed & Metallica,
Morten Harket,
Ohio Players,
Rhythim Is Rhythim,
Organ,
Sticky Fingaz feat. Raekwon,
Wolf Eyes,
Grandmaster Flash,
The Barracudas,
Archie Shepp,
The Modern Lovers,
World's Most, World's Most, World's Most, World's Most.
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.