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 Korea South and from Paris.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bremen and Jakarta.
I'm losing my edge to the art-school Winnipeg 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 linndrum 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 KRS-One to the techno 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 The West Coast Pop Art Experimental Band. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Nils Olav 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Marmalade,
Q65,
Dark Day,
Subhumans,
The Smiths,
Kaleidoscope,
Marc Romboy vs. Booka Shade,
De La Soul & Jungle Brothers,
The Martian,
Radiohead,
Howard Jones,
Silicon Teens,
The Seeds,
Arcadia,
Model 500,
Aswad,
The Sisters of Mercy,
Alphaville,
Amazonics,
Hoover,
Major Organ And The Adding Machine,
Beasts of Bourbon,
Crooked Eye,
Cybotron,
Shuggie Otis,
Pole,
The Star Department,
Circle Jerks,
The Modern Lovers,
Mr. Review,
In Retrospect,
Archie Shepp,
Sällskapet,
Don Cherry,
Lungfish,
Warsaw,
Flamin' Groovies,
Anthony Braxton,
Boredoms,
Yazoo,
Alton Ellis,
Goldenarms,
Jeff Mills,
Agent Orange,
The Cosmic Jokers,
Tropical Tobacco,
Althea and Donna,
Severed Heads,
Absolute Body Control,
Schoolly D,
The J.B.'s,
Aural Exciters,
Camberwell Now,
Nick Fraelich,
Kool G Rap & DJ Polo,
Jerry's Kids,
The Happenings,
the Slits,
Al Stewart,
Bobby Womack,
Heavy D & The Boyz,
Amon Düül,
The Cramps, The Cramps, The Cramps, The Cramps.
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.