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 Angola and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 Lyon and Woodstock.
I'm losing my edge to the art-school Lyon 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Cal Tjader to the techno kids.
I played it at the Crocodile.
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 Slits. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal jazz 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 a clarinet and a chamberlin 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 rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Kas Product,
The Evens,
Crispian St. Peters,
Major Organ And The Adding Machine,
Ponytail,
Deutsch Amerikanische Freundschaft,
Sun Ra Arkestra,
Circle Jerks,
Zapp,
Cecil Taylor,
Pierre Henry,
Henry Cow,
Tom Boy,
Flipper,
Big Daddy Kane,
Althea and Donna,
Marvin Gaye,
Siouxsie and the Banshees,
Pharaoh Sanders and the Fire Engines,
Bob Dylan,
Vaughan Mason & Crew,
Mantronix,
Soul II Soul,
The Gun Club,
Dead Boys,
Anthony Braxton,
Bobby Hutcherson,
Sister Nancy,
Glenn Branca,
Aaron Thompson,
Skarface,
D'Angelo,
Q65,
AZ,
Bootsy Collins,
The Detroit Cobras,
Black Bananas,
James White and The Blacks,
Scrapy,
Malaria!,
Pole,
Manfred Mann's Earth Band,
Scratch Acid,
Ossler,
B.T. Express,
Supertramp,
Albert Ayler,
The Royal Family And The Poor,
Con Funk Shun,
Dark Day,
Mary Jane Girls,
Chris & Cosey,
Duran Duran,
Prince Buster,
E-Dancer,
Average White Band,
Sam Rivers,
Reuben Wilson,
Index,
Susan Cadogan,
Kauko Röyhkä ja Narttu,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.