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 Zambia and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1970.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Houston 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the harpsichord 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 Steve Hackett to the dance kids.
I played it at the Troubador.
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 Adolescents. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Robert Wyatt record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a synthesizer 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 sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Prince Buster,
Kurtis Blow,
Lyres,
Richard Hell and the Voidoids,
8 Eyed Spy,
The Doobie Brothers,
Fatback Band,
Throbbing Gristle,
Gastr Del Sol,
Rhythm & Sound,
Barrington Levy,
Derrick Morgan,
Eve St. Jones,
Eden Ahbez,
Bill Wells,
Smog,
Sarah Menescal,
Avey Tare's Slasher Flicks,
X-Ray Spex,
Boogie Down Productions,
The Barracudas,
Camouflage,
AZ,
Roxette,
Brand Nubian,
Jacob Miller,
Adolescents,
JFA,
DNA,
The Busters,
Newcleus,
Kool G Rap & DJ Polo,
Roxy Music,
Nick Fraelich,
Delon & Dalcan,
Rotary Connection,
Kenny Larkin,
The Happenings,
Joy Division,
Bobby Byrd,
Drive Like Jehu,
Barclay James Harvest,
Bill Near,
Deakin,
Technova,
The Zeros,
The Royal Family And The Poor,
Gil Scott-Heron & Brian Jackson,
The Remains,
The Standells,
Soft Cell,
Gerry Rafferty,
Tomorrow,
Don Cherry,
Cymande,
Faraquet,
Al Stewart,
Heaven 17,
Matthew Halsall,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.