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 Liechtenstein 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 1968 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Philadelphia 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 1968 at the first Can practice in a loft in Cologne.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Aaron Thompson to the electroclash kids.
I played it at Trash.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
The Dave Clark Five,
The Moody Blues,
Bobby Byrd,
Ash Ra Tempel,
Hoover,
Max Romeo,
Johnny Osbourne,
Avey Tare's Slasher Flicks,
Stetsasonic,
Roy Ayers,
Nick Fraelich,
Ken Boothe,
Animal Collective,
Soft Machine,
Big Daddy Kane,
Magazine,
The Toasters,
June of 44,
Bobby Womack,
Sam Rivers,
Royal Trux,
The Neon Judgement,
Grauzone,
Sight & Sound,
the Normal,
Fifty Foot Hose,
The Move,
Neu!,
Kurtis Blow,
Kauko Röyhkä ja Narttu,
Althea and Donna,
Fugazi,
Eve St. Jones,
UT,
Camouflage,
Louis and Bebe Barron,
Soul Sonic Force,
The Victims,
Mr. Review,
Brothers Johnson,
Nas,
Liaisons Dangereuses,
Thompson Twins,
Soulsonic Force,
Yellowson,
Deadbeat,
Talk Talk,
Reuben Wilson,
Lee Hazlewood,
Au Pairs,
Bobby Sherman,
Boz Scaggs,
The Cramps,
Mars,
Ludus,
The Stooges,
Ten City,
Easy Going,
Jeru the Damaja,
10cc,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.