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 Burkina and from Madrid.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Mumbai.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the theremin 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 Bob Dylan to the grime kids.
I played it at Cafe Wha.
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 Leonard Cohen. All the underground hits.
All Smog tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron 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 marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Colin Newman,
B.T. Express,
Marcia Griffiths,
Piero Umiliani,
Morten Harket,
Dorothy Ashby,
Ohio Players,
The Blues Magoos,
Warren Ellis,
Bobby Womack,
Pierre Henry,
Kas Product,
Monks,
Maurizio,
Heavy D & The Boyz,
Skaos,
The Gun Club,
Alison Limerick,
Black Bananas,
Crime,
Avey Tare & Kría Brekkan,
The Sonics,
Sound Behaviour,
Todd Rundgren,
Avey Tare's Slasher Flicks,
Wire,
June of 44,
The Cramps,
Smog,
Stockholm Monsters,
Grey Daturas,
Notorious Big And Bone Thugs,
Masters at Work,
Frankie Knuckles,
Dennis Brown,
The Dead C,
the Slits,
Byron Stingily,
The Doors,
The Victims,
Magazine,
Brick,
Joe Smooth,
Bizarre Inc.,
Drexciya,
T.S.O.L.,
Arthur Verocai,
EPMD,
Fifty Foot Hose,
The West Coast Pop Art Experimental Band,
R.M.O.,
K-Klass,
Nils Olav,
Fad Gadget,
Pylon,
KRS-One,
T. Rex,
Absolute Body Control,
Cameo,
Lou Reed & Metallica,
Surgeon,
Zapp, Zapp, Zapp, Zapp.
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.