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 Belize and from Toronto.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lagos and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 Zapp practice in a loft in Hamilton.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Moebius to the disco 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 Todd Terry. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a marimba 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
The Dave Clark Five,
Warsaw,
Heavy D & The Boyz,
The Angels of Light,
Sonny Sharrock,
The Birthday Party,
Public Image Ltd.,
Marine Girls,
Visionaries,LMNO, T- Love & Iriscience,
Rotary Connection,
Roy Ayers Ubiquity,
Mary Jane Girls,
Metal Thangz,
Letta Mbulu,
Angry Samoans,
Peter and Kerry,
Mr. Review,
Lee Hazlewood,
Section 25,
U.S. Maple,
Kango’s Stein Massive,
Pole,
Eric Dolphy,
Siouxsie and the Banshees,
Todd Terry,
Suicide,
Lungfish,
Flash Fearless,
Throbbing Gristle,
Thompson Twins,
John Coltrane,
Art Ensemble Of Chicago,
Ituana,
Qualms,
The Fire Engines,
Charles Mingus,
Eddi Front,
PIL,
Pete Rock & C.L. Smooth,
Kenny Larkin,
Average White Band,
Wolf Eyes,
Rakim,
Gerry Rafferty,
Marc Almond,
Hasil Adkins,
Grey Daturas,
Wasted Youth,
The Kinks,
Television,
Richard Hell and the Voidoids,
the Human League,
Colin Newman,
Von Mondo,
a-ha,
Icehouse,
Popol Vuh,
Fear,
The Real Kids,
Barry Ungar,
Idris Muhammad,
The Misunderstood,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.