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 Philippines and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lille and Stockholm.
I'm losing my edge to the art-school Salvador 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 Can practice in a loft in Cologne.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Urselle to the jazz 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 Bush Tetras. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
Masters at Work,
Gang Gang Dance,
The Knickerbockers,
the Human League,
New Order,
Pussy Galore,
The Happenings,
The Victims,
Porter Ricks,
Banda Bassotti,
48th St. Collective,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rahsaan Roland Kirk,
Morten Harket,
Altered Images,
Television,
Sixth Finger,
Franke,
Colin Newman,
Marvin Gaye,
kango's stein massive,
China Crisis,
Marcia Griffiths,
Röyhkä ja Rättö ja Lehtisalo,
David Axelrod,
Wighnomy Brothers & Robag Wruhme,
Wally Richardson,
Cecil Taylor,
Rufus Thomas,
Lou Reed & Metallica,
Lalo Schifrin,
The Sonics,
The Skatalites,
Loose Ends,
Magazine,
Flash Fearless,
Art Ensemble Of Chicago,
Eddi Front,
The Fall,
Section 25,
Liliput,
Procol Harum,
Gregory Isaacs,
The Gladiators,
Bob Dylan,
the Normal,
Joensuu 1685,
Fifty Foot Hose,
Lyres,
Rhythim Is Rhythim,
Inner City,
Josef K,
Roger Hodgson,
Nils Olav,
Moebius,
The Neon Judgement,
Rekid, Rekid, Rekid, Rekid.
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.