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 Botswana and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Shanghai 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Freddie Wadling to the jazz kids.
I played it at the Troubador.
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 X-Ray Spex. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every The Young Rascals 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 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 Heavy D & The Boyz record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Morten Harket,
Amon Düül II,
Chris Corsano,
Susan Cadogan,
Thinking Fellers Union Local 282,
The Zeros,
The Tremeloes,
Bobby Byrd,
Lee Hazlewood,
Minutemen,
Kas Product,
Stockholm Monsters,
cv313,
Byron Stingily,
Gang Green,
Vladislav Delay,
Sparks,
Selector Dub Narcotic,
Harry Pussy,
Sex Pistols,
Alphaville,
Sarah Menescal,
Lakeside,
Camouflage,
Scott Walker,
Erasure,
Average White Band,
Icehouse,
Faraquet,
Heavy D & The Boyz,
Bluetip,
Unrelated Segments,
Camberwell Now,
Rufus Thomas,
Shoche,
New Age Steppers,
Iggy Pop,
The Associates,
Bobby Hutcherson,
OOIOO,
Warren Ellis,
Roy Ayers Ubiquity,
Joey Negro,
Sunsets and Hearts,
Ludus,
The United States of America,
Eurythmics,
Tomorrow,
Todd Terry,
Man Parrish,
T.S.O.L.,
Bronski Beat,
Sam Rivers,
Major Organ And The Adding Machine,
Robert Hood,
Michelle Simonal,
Fela Kuti,
Severed Heads,
JFA,
Radiopuhelimet,
John Holt, John Holt, John Holt, John Holt.
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.