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 Ivory Coast and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Philadelphia.
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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Silicon Teens to the rock kids.
I played it at the Hacienda.
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 Barry Ungar. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '70s.
I hear you're buying a guitar 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 chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Toni Rubio,
Drive Like Jehu,
ABC,
Joe Smooth,
Marcia Griffiths,
Faust,
Art Ensemble Of Chicago,
Clear Light,
Organ,
Ultramagnetic MC's,
Boz Scaggs,
B.T. Express,
Bluetip,
Sunsets and Hearts,
Eve St. Jones,
Andrew Ashong & Theo Parrish,
Black Moon,
Bad Manners,
The Cramps,
Technova,
The Invisible,
Grandmaster Flash,
Sly & The Family Stone,
The Trojans,
Interpol,
Desert Stars,
Soft Cell,
Mo-Dettes,
Half Japanese,
The Moleskins,
Gil Scott Heron,
The Dave Clark Five,
Röyhkä ja Rättö ja Lehtisalo,
This Heat,
Pole,
Duran Duran,
cv313,
Peter & Gordon,
Danielle Patucci,
Ohio Players,
Lakeside,
Rufus Thomas,
The Neon Judgement,
Sex Pistols,
Frankie Knuckles,
Radiohead,
Camron Feat. Memphis Bleek And Beenie Seigel,
Flipper,
Selector Dub Narcotic,
Icehouse,
CMW,
Marc Almond,
MC5,
Guru Guru,
Piero Umiliani,
Bang On A Can,
Maleditus Sound,
Barbara Tucker,
Nas,
Traffic Nightmare,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.