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 Yemen and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1972.
I'm losing my edge.
To all the kids in Glasgow and Accra.
I'm losing my edge to the art-school Houston 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Josef K to the grime kids.
I played it at Cafe Wha.
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 Interpol. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every The J.B.'s record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and an organ 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 marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
The Electric Prunes,
Deepchord,
Gang Starr,
Nick Fraelich,
Angels of Light & Akron/Family,
Young Marble Giants,
Sound Behaviour,
Angry Samoans,
Lalann,
The Pretty Things,
Erasure,
Bill Near,
Althea and Donna,
The Jesus and Mary Chain,
Rekid,
John Holt,
Marcia Griffiths,
The Dirtbombs,
Sex Pistols,
the Slits,
Röyhkä ja Rättö ja Lehtisalo,
Fatback Band,
Marmalade,
David McCallum,
The Doobie Brothers,
Khruangbin,
Dennis Brown,
Pierre Henry,
Tomorrow,
Marc Almond,
The Gories,
Dorothy Ashby,
The Fall,
Gang of Four,
The Red Krayola,
Yaz,
The Durutti Column,
Brass Construction,
Art Ensemble Of Chicago,
The Smoke,
DNA,
Crime,
Model 500,
Iggy Pop,
Deadbeat,
Kurtis Blow,
Rahsaan Roland Kirk,
Bobby Hutcherson,
Half Japanese,
Sällskapet,
The Martian,
Siouxsie and the Banshees,
Babytalk,
The Doors,
The Men They Couldn't Hang,
The Victims,
Judy Mowatt,
Sly & The Family Stone,
Aural Exciters,
It's A Beautiful Day,
The Fugs, The Fugs, The Fugs, The Fugs.
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.