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 Nigeria and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1960 to 1973.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Edmonton 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Graham Central Station to the funk kids.
I played it at the Hacienda.
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 Curtis Mayfield. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Kenny Larkin 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ten City 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,
Joe Smooth,
The Count Five,
Sound Behaviour,
Erasure,
Spandau Ballet,
Black Moon,
Bobby Sherman,
the Soft Cell,
Main Source,
Charles Mingus,
Rapeman,
Shoche,
Sad Lovers and Giants,
Beasts of Bourbon,
Sight & Sound,
Thee Headcoats,
Aloha Tigers,
The Moody Blues,
Avey Tare & Kría Brekkan,
Can,
Skriet,
Essential Logic,
Cameo,
Kool G Rap & DJ Polo,
Bauhaus,
Excepter,
The Doors,
Whodini,
Tim Buckley,
Funky Four + One,
Mary Jane Girls,
Lyres,
Danielle Patucci,
Cheater Slicks,
Terror Squad Feat. Camron,
Harmonia,
Mad Mike,
Maurizio,
Sixth Finger,
Duran Duran,
The Names,
Pharaoh Sanders and the Fire Engines,
Babytalk,
DNA,
Minor Threat,
The Men They Couldn't Hang,
Man Eating Sloth,
The Mighty Diamonds,
The Dirtbombs,
Maleditus Sound,
Matthew Halsall,
Big Daddy Kane,
The Beau Brummels,
Reuben Wilson,
Scion,
The Pretty Things,
The Velvet Underground,
The Human League,
Sly & The Family Stone,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.