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 Brunei and from Columbus.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Winnipeg.
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 1978 at the first Visage practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 John Holt to the electroclash kids.
I played it at Trash.
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 Amazonics. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal rock 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 a güiro and a snare 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 mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Scrapy,
Jacob Miller,
Cymande,
Laurel Aitken,
Beasts of Bourbon,
The Move,
Soul II Soul,
The Durutti Column,
Gang Gang Dance,
Darondo,
Cecil Taylor,
Althea and Donna,
Wire,
Kool G Rap & DJ Polo,
New Order,
The Raincoats,
Blossom Toes,
Vladislav Delay,
Notorious Big And Bone Thugs,
Glambeats Corp.,
Curtis Mayfield,
Sixth Finger,
Gabor Szabo,
Simply Red,
John Holt,
Joyce Sims,
the Human League,
Red Lorry Yellow Lorry,
Gian Franco Pienzio,
The Slackers,
FM Einheit,
Frankie Knuckles,
New Age Steppers,
Neil Young,
Be Bop Deluxe,
Spoonie Gee,
Lou Christie,
Cabaret Voltaire,
Connie Case,
Sarah Menescal,
Symarip,
Gong,
Sugar Minott,
Matthew Halsall,
Angels of Light & Akron/Family,
Quadrant,
Urselle,
Nas,
Davy DMX,
Subhumans,
Eli Mardock,
The Mojo Men,
PIL,
Anthony Braxton,
Dorothy Ashby,
The Sound,
The Music Machine,
The Associates,
Heavy D & The Boyz,
Sight & Sound,
Suburban Knight,
Model 500, Model 500, Model 500, Model 500.
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.