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 Antigua and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Bologna 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 1983 at the first Art of Noise practice in a loft in London.
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 Dual Sessions to the dance 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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin 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 harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Skaos,
Joey Negro,
Ituana,
Bobby Womack,
The Modern Lovers,
Country Joe & The Fish,
The Fire Engines,
Sight & Sound,
Marc Almond,
Hoover,
Underground Resistance,
Section 25,
Stereo Dub,
Ken Boothe,
Howard Jones,
Danielle Patucci,
Warren Ellis,
David McCallum,
kango's stein massive,
Urselle,
Bad Manners,
John Foxx,
Dorothy Ashby,
the Normal,
Aswad,
Monolake,
Lindisfarne,
Khruangbin,
ABBA,
John Holt,
Rod Modell,
The Dave Clark Five,
Wings,
Notorious BIG live in Amsterdam,
Archie Shepp,
Sarah Menescal,
The American Breed,
The Raincoats,
the Bar-Kays,
Alphaville,
Sister Nancy,
Nation of Ulysses,
Sun Ra Arkestra,
Peter Gordon & Love of Life Orchestra,
Echo & the Bunnymen,
Marcia Griffiths,
Parry Music,
June of 44,
The Misunderstood,
In Retrospect,
Spoonie Gee,
Supertramp,
Marc Romboy vs. Booka Shade,
Easy Going,
The Mighty Diamonds,
The Blues Magoos,
X-101,
The Angels of Light,
Neil Young & Crazy Horse,
Andrew Hill,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.