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 Luxembourg and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Columbus and Glasgow.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Radiopuhelimet to the rap 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 Glenn Branca. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every The Techniques 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a sitar 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 snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Connie Case,
Letta Mbulu,
The Cramps,
Tim Buckley,
Camouflage,
Carl Craig,
Lakeside,
Eden Ahbez,
Grey Daturas,
Delta 5,
Barclay James Harvest,
Bizarre Inc.,
Rhythim Is Rhythim,
Andrew Ashong & Theo Parrish,
D'Angelo,
The Sonics,
Eurythmics,
Mr. Review,
Frankie Knuckles,
Amon Düül II,
Avey Tare's Slasher Flicks,
Radiopuhelimet,
Angry Samoans,
Ludus,
The Angels of Light,
Swans,
Mary Jane Girls,
Pole,
OOIOO,
Glambeats Corp.,
Laurel Aitken,
Absolute Body Control,
Marcia Griffiths,
Eddi Front,
Qualms,
Deakin,
Traffic Nightmare,
Marvin Gaye,
Minutemen,
the Normal,
Sad Lovers and Giants,
Whodini,
Negative Approach,
Darondo,
Maurizio,
The Walker Brothers,
Nation of Ulysses,
Reagan Youth,
Trumans Water,
Jeru the Damaja,
Girls At Our Best!,
The West Coast Pop Art Experimental Band,
Jacob Miller,
The Tremeloes,
Funky Four + One,
Stiv Bators,
Smog,
Von Mondo,
Malaria!,
Country Joe & The Fish,
Lower 48,
John Holt,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.