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 Guatemala and from Glasgow.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1974.
I'm losing my edge.
To all the kids in Taipei and Jakarta.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 The Seeds 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 Au Pairs. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Gabor Szabo 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer 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 guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Mad Mike,
The Peanut Butter Conspiracy,
The Gun Club,
Quadrant,
Parry Music,
Eddi Front,
Grandmaster Flash and the Furious Five,
Amon Düül,
Nick Fraelich,
UT,
Alton Ellis,
Pharaoh Sanders and the Fire Engines,
The Selecter,
Amon Düül II,
Andrew Hill,
Beasts of Bourbon,
Vladislav Delay,
Orchestral Manoeuvres in the Dark,
The Dead C,
Electric Light Orchestra,
Urselle,
MDC,
Q65,
Porter Ricks,
Lou Christie,
Yazoo,
The Five Americans,
Marc Almond,
Popol Vuh,
Marmalade,
Roxy Music,
Ronnie Foster,
The Invisible,
KRS-One,
the Normal,
Man Parrish,
Bobby Womack,
Can,
Big Daddy Kane,
DJ Sneak,
Sugar Minott,
Robert Wyatt,
Brand Nubian,
The Music Machine,
The Cure,
Jesper Dahlback,
Marvin Gaye,
Swans,
Electric Prunes,
Aswad,
Wally Richardson,
The Fire Engines,
Rotary Connection,
Rekid,
Pete Rock & C.L. Smooth,
New York Dolls,
Drexciya,
Gang of Four,
James White and The Blacks,
The Index,
Clear Light,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.