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 Rwanda and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Tokyo 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 Big Star practice in a loft in Memphis.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Morten Harket to the electroclash 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 Marc Almond. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a clarinet 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 sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Japan,
Suicide,
Jimmy McGriff,
The United States of America,
It's A Beautiful Day,
Yazoo,
Rosa Yemen,
EPMD,
Warsaw,
Jandek,
Shoche,
Janne Schatter,
Tommy Roe,
Mark Hollis,
ABBA,
Echospace,
Quantec,
Black Bananas,
Cabaret Voltaire,
Matthew Bourne,
LL Cool J,
James Chance & The Contortions,
Siglo XX,
Spandau Ballet,
Boredoms,
Derrick May,
The Modern Lovers,
Alison Limerick,
China Crisis,
Duran Duran,
Darondo,
Gong,
Tubeway Army,
The Saints,
Steve Hackett,
The Martian,
Ten City,
Young Marble Giants,
Ultravox,
The Tremeloes,
OOIOO,
Supertramp,
Nils Olav,
The Remains,
Infiniti,
Gregory Isaacs,
Althea and Donna,
Sparks,
F. McDonald,
Babytalk,
Gabor Szabo,
James White and The Blacks,
Little Man,
Model 500,
Mad Mike,
Country Joe & The Fish,
Wings,
Al Stewart,
Tears for Fears,
Cal Tjader,
Los Fastidios,
Livin' Joy,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.