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 Bangladesh and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Columbus 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Bootsy Collins to the electroclash kids.
I played it at the Spitz.
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 Terror Squad Feat. Camron. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Index,
The Mighty Diamonds,
Bizarre Inc.,
Jacques Brel,
Pylon,
Jesper Dahlback,
DNA,
Selector Dub Narcotic,
Iggy Pop,
Carl Craig,
Deepchord,
Bluetip,
Donald Byrd,
the Fania All-Stars,
The Zeros,
Prince Buster,
Tim Buckley,
The Fall,
KRS-One,
Steve Hackett,
Livin' Joy,
Terror Squad Feat. Camron,
Patti Smith,
Ohio Players,
Ornette Coleman,
The Mojo Men,
Art Ensemble Of Chicago,
Morten Harket,
Arthur Verocai,
Yazoo,
FM Einheit,
The Monks,
Frankie Knuckles,
Harmonia,
Todd Rundgren,
Unrelated Segments,
Eve St. Jones,
PIL,
Eden Ahbez,
Freddie Wadling,
Minutemen,
David Axelrod,
The Trojans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Newcleus,
Agent Orange,
The Wake,
Trumans Water,
These Immortal Souls,
The Royal Family And The Poor,
Cymande,
Ultramagnetic MC's,
Bush Tetras,
Kaleidoscope,
The Tremeloes,
Flipper,
Teenage Jesus and the Jerks,
F. McDonald,
Severed Heads,
Brick,
Bang on a Can All-Stars,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.