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 Liechtenstein and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1973.
I'm losing my edge.
To all the kids in Houston and Accra.
I'm losing my edge to the art-school Philadelphia 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Glenn Branca to the grime kids.
I played it at CBGB's.
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 Pantaleimon. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Blossom Toes,
Barclay James Harvest,
Minutemen,
Mandrill,
The Happenings,
Con Funk Shun,
Outsiders,
48th St. Collective,
Skarface,
Deakin,
Gastr Del Sol,
Toni Rubio,
Franke,
Black Flag,
The Trojans,
Reagan Youth,
Sister Nancy,
Jerry Gold Smith,
Fort Wilson Riot,
Danielle Patucci,
Hoover,
The Neon Judgement,
Colin Newman,
The Flesh Eaters,
Sixth Finger,
Clear Light,
Jandek,
Man Eating Sloth,
The Durutti Column,
Cabaret Voltaire,
Peter & Gordon,
Bang On A Can,
John Holt,
Soulsonic Force,
Youth Brigade,
The Kinks,
Intrusion,
Strawberry Alarm Clock,
Lafayette Afro Rock Band,
Echo & the Bunnymen,
In Retrospect,
Babytalk,
Lalo Schifrin,
The Modern Lovers,
The Pop Group,
The Sonics,
Peter Gordon & Love of Life Orchestra,
Sexual Harrassment,
The Gap Band,
X-Ray Spex,
Drive Like Jehu,
Sun Ra Arkestra,
The Alarm Clocks,
Cymande,
The Fuzztones,
The Moody Blues,
R.M.O.,
Wolf Eyes,
Cybotron,
Severed Heads,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.