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 Georgia and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Cairo and Beijing.
I'm losing my edge to the art-school Shanghai 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 1968 at the first Bowie practice in a loft in Bromley.
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 Captain Beefheart & His Magic Band to the rock kids.
I played it at the Roxy.
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 Susan Cadogan. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every a-ha 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron 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 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?
Ultramagnetic MC's,
The Saints,
Hardrive,
The Happenings,
Sixth Finger,
Henry Cow,
Avey Tare & Kría Brekkan,
Roxy Music,
Alice Coltrane,
Eli Mardock,
Delon & Dalcan,
Wally Richardson,
Stetsasonic,
Tomorrow,
Interpol,
Ponytail,
Deakin,
the Swans,
Zapp,
Little Man,
Dorothy Ashby,
Lebanon Hanover,
Gian Franco Pienzio,
Zero Boys,
Gil Scott-Heron & Brian Jackson,
Joyce Sims,
Eden Ahbez,
Notorious Big And Bone Thugs,
Frankie Knuckles,
DeepChord presents Echospace,
Marc Romboy vs. Booka Shade,
The Angels of Light,
Masters at Work,
John Holt,
Kas Product,
The Tremeloes,
Scratch Acid,
Al Stewart,
Wasted Youth,
Qualms,
Severed Heads,
Gang Green,
Vladislav Delay,
Ultravox,
Eddi Front,
Blancmange,
The Zeros,
Bill Near,
Notorious BIG live in Amsterdam,
Jerry's Kids,
Sandy B,
Nils Olav,
Young Marble Giants,
Can,
Scott Walker,
Echo & the Bunnymen,
Sly & The Family Stone,
Soul II Soul,
John Coltrane,
Pylon,
Mo-Dettes,
Marshall Jefferson,
X-101,
Black Moon, Black Moon, Black Moon, Black Moon.
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.