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 France and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1964 to 1970.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Taipei 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Joe Smooth to the jazz 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 Black Moon. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Essential Logic 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a clarinet 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 sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Piero Umiliani,
Johnny Clarke,
Matthew Halsall,
Anthony Braxton,
Zapp,
R.M.O.,
Brothers Johnson,
Heaven 17,
The Electric Prunes,
Robert Görl,
Vaughan Mason & Crew,
Althea and Donna,
Shoche,
Supertramp,
H. Thieme,
Davy DMX,
Livin' Joy,
Tears for Fears,
The Shadows of Knight,
Schoolly D,
Peter and Kerry,
Heavy D & The Boyz,
The Mojo Men,
Pagans,
The Busters,
Juan Atkins,
Hardrive,
Severed Heads,
Fluxion,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Half Japanese,
Monolake,
Eric B and Rakim,
Donny Hathaway,
Sugar Minott,
Amon Düül,
Roxette,
The Offenders,
Wighnomy Brothers & Robag Wruhme,
The United States of America,
Skaos,
Negative Approach,
Johnny Osbourne,
The Pretty Things,
Simply Red,
Gang Green,
Lou Reed,
The Fire Engines,
Ronan,
John Foxx,
Whodini,
X-Ray Spex,
The Evens,
Malaria!,
X-101,
The Litter,
Leonard Cohen,
Main Source,
Neil Young & Crazy Horse,
Ultravox,
Kayak,
Bad Manners,
the Association, the Association, the Association, the Association.
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.