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 Belgium and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Halifax and Delhi.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Major Organ And The Adding Machine to the jazz kids.
I played it at the Troubador.
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 Donald Byrd. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal disco 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 marimba and an arpeggiator 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 arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Section 25,
Ice-T,
Make Up,
Traffic Nightmare,
Dawn Penn,
Grey Daturas,
Zapp,
The Moody Blues,
Avey Tare & Kría Brekkan,
The Shadows of Knight,
Wally Richardson,
Jawbox,
Black Bananas,
Harpers Bizarre,
Alison Limerick,
The Gap Band,
Donald Byrd,
Electric Light Orchestra,
Jesper Dahlbäck,
Tubeway Army,
X-Ray Spex,
Albert Ayler,
Stockholm Monsters,
Tears for Fears,
New Age Steppers,
Buzzcocks,
Louis and Bebe Barron,
Wasted Youth,
Kings Of Tomorrow,
The Raincoats,
Judy Mowatt,
Piero Umiliani,
EPMD,
Model 500,
Nils Olav,
Pere Ubu,
Brass Construction,
Quantec,
Aswad,
The Leaves,
Television Personalities,
Duran Duran,
Yellowson,
Reagan Youth,
Kas Product,
Fort Wilson Riot,
Sandy B,
Ronan,
Oneida,
Bobby Womack,
Marine Girls,
Procol Harum,
Lonnie Liston Smith,
Eric Copeland,
David Axelrod,
the Fania All-Stars,
Agitation Free,
Derrick May,
Siglo XX,
Bobby Byrd,
Alice Coltrane,
Arthur Verocai,
China Crisis, China Crisis, China Crisis, China Crisis.
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.