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 Columbus.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1971.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Ossler to the grime 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 Juan Atkins. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Marc Almond,
Marvin Gaye,
Gang of Four,
Amon Düül II,
Matthew Bourne,
Amazonics,
The West Coast Pop Art Experimental Band,
the Slits,
Eric Dolphy,
Metal Thangz,
Minutemen,
Bang On A Can,
Scion,
Mr. Review,
Camron Feat. Memphis Bleek And Beenie Seigel,
Charles Mingus,
Don Cherry,
T. Rex,
Lou Christie,
Rhythm & Sound,
Lalann,
Soulsonic Force,
Little Man,
Con Funk Shun,
The Selecter,
X-Ray Spex,
Pharaoh Sanders and the Fire Engines,
John Holt,
Nick Cave & The Bad Seeds,
the Association,
The Litter,
Jeff Lynne,
Tommy Roe,
Talk Talk,
The Neon Judgement,
Average White Band,
Hashim,
Bad Manners,
Mantronix,
Pierre Henry,
Robert Wyatt,
Donny Hathaway,
Minny Pops,
Avey Tare's Slasher Flicks,
Morten Harket,
The Last Poets,
The Cowsills,
Tres Demented,
Gil Scott Heron,
Lizzy Mercier Descloux,
Livin' Joy,
Reagan Youth,
Nick Fraelich,
Roger Hodgson,
The Walker Brothers,
The Count Five,
The Slits,
Deepchord,
Royal Trux,
the Human League, the Human League, the Human League, the Human League.
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.