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 East Timor and from Bologna.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Toronto 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 Bronski Beat practice in a loft in Brixton.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Ponytail 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 Young Marble Giants. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ossler record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
The Kinks,
Siouxsie and the Banshees,
Nico,
CMW,
the Swans,
cv313,
Kurtis Blow,
Ornette Coleman,
The Five Americans,
Outsiders,
Jeff Lynne,
AZ,
Ponytail,
Gil Scott-Heron and Jamie xx,
The Mojo Men,
Make Up,
The Associates,
Quando Quango,
Interpol,
Moby Grape,
Visionaries,LMNO, T- Love & Iriscience,
Skaos,
The Barracudas,
Cameo,
The Happenings,
Ten City,
Glambeats Corp.,
Terry Callier,
Half Japanese,
Röyhkä ja Rättö ja Lehtisalo,
The Dave Clark Five,
Cabaret Voltaire,
The West Coast Pop Art Experimental Band,
Bang on a Can All-Stars,
Ice-T,
FM Einheit,
The Blues Magoos,
Adolescents,
A Flock of Seagulls,
Schoolly D,
Eddi Front,
The Music Machine,
Chrome,
Anthony Braxton,
Josef K,
OOIOO,
Sarah Menescal,
Freddie Wadling,
Brass Construction,
Roy Ayers,
Minor Threat,
Marc Almond,
Spandau Ballet,
Y Pants,
Joy Division,
Avey Tare & Kría Brekkan,
Marc Romboy vs. Booka Shade,
Ronnie Foster,
Judy Mowatt,
The Alarm Clocks,
Camberwell Now,
X-102,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.