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 Argentina and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the rhodes 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 Be Bop Deluxe to the disco kids.
I played it at the 40 Watt.
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 Eric Dolphy. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Howard Jones 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 '80s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band 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?
Robert Görl,
Cabaret Voltaire,
Stiv Bators,
Wire,
Zero Boys,
DJ Style,
X-102,
Jacques Brel,
Interpol,
Youth Brigade,
Gil Scott-Heron and Jamie xx,
Patti Smith,
Dave Gahan,
Wings,
Crash Course in Science,
Soft Machine,
Ossler,
The Mighty Diamonds,
De La Soul & Jungle Brothers,
Angry Samoans,
Section 25,
Black Pus,
David McCallum,
Royal Trux,
The Human League,
Connie Case,
Infiniti,
The Wake,
Livin' Joy,
Lou Christie,
Fugazi,
Curtis Mayfield,
Das Ding,
Sarah Menescal,
The Residents,
Soul Sonic Force,
Ronnie Foster,
Flamin' Groovies,
Moby Grape,
Nation of Ulysses,
Susan Cadogan,
MDC,
the Slits,
Rakim,
Motorama,
Ralphi Rosario,
Big Daddy Kane,
Notorious Big And Bone Thugs,
Lou Reed,
Sonny Sharrock,
Magazine,
The Pop Group,
Isaac Hayes,
Sam Rivers,
Jerry's Kids,
Frankie Knuckles,
The Modern Lovers,
A Certain Ratio,
Terry Callier,
Basic Channel,
Stereo Dub,
Parry Music,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.