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 Kazakhstan and from Jakarta.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Bologna and Bremen.
I'm losing my edge to the art-school London 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 Lou Reed 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 Cymande 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 Infiniti. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
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,
The Men They Couldn't Hang,
Yazoo,
Roy Ayers,
Cecil Taylor,
Cybotron,
Lungfish,
Stiv Bators,
Barbara Tucker,
Crispy Ambulance,
H. Thieme,
Drive Like Jehu,
Marcia Griffiths,
Negative Approach,
Dawn Penn,
The Fuzztones,
Ajijia Myrayebe,
Pulsallama,
Soul Sonic Force,
Reuben Wilson,
Sister Nancy,
Brass Construction,
X-102,
Delta 5,
Albert Ayler,
Peter and Kerry,
Eurythmics,
Andrew Ashong & Theo Parrish,
Manfred Mann's Earth Band,
48th St. Collective,
the Germs,
This Heat,
The Chocolate Watch Band,
DNA,
Rod Modell,
Junior Murvin,
Ponytail,
Absolute Body Control,
The Electric Prunes,
Stockholm Monsters,
Gastr Del Sol,
Banda Bassotti,
Gian Franco Pienzio,
Shoche,
Marc Almond,
R.M.O.,
Metal Thangz,
Pussy Galore,
Theoretical Girls,
Girls At Our Best!,
Lebanon Hanover,
Pharoah Sanders,
Janne Schatter,
Dark Day,
The Golliwogs,
The Blackbyrds,
London Community Gospel Choir,
The Neon Judgement,
Amon Düül II,
Black Bananas,
Shuggie Otis,
Sunsets and Hearts,
Marmalade, Marmalade, Marmalade, Marmalade.
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.