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 Belgium and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1973.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school New York 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the harpsichord 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 Lower 48 to the disco kids.
I played it at the Hacienda.
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 Tropical Tobacco. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal techno 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 a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
The Tremeloes,
Roxette,
Fugazi,
The Men They Couldn't Hang,
Rahsaan Roland Kirk,
Groovy Waters,
Nation of Ulysses,
X-102,
Ronan,
Lonnie Liston Smith,
Thee Headcoats,
Amon Düül,
Bobby Byrd,
Oppenheimer Analysis,
Albert Ayler,
The Divine Comedy,
Aswad,
Hot Snakes,
Donny Hathaway,
Little Man,
Connie Case,
Metal Thangz,
Joe Smooth,
Röyhkä ja Rättö ja Lehtisalo,
Negative Approach,
Rosa Yemen,
John Foxx,
Pagans,
Quando Quango,
Maurizio,
Country Teasers,
Soul Sonic Force,
The Litter,
Rhythim Is Rhythim,
The Five Americans,
Unrelated Segments,
Chrome,
Angry Samoans,
Black Sheep,
the Soft Cell,
The Remains,
Susan Cadogan,
Ossler,
OOIOO,
Jerry's Kids,
The Raincoats,
The Detroit Cobras,
Gerry Rafferty,
the Sonics,
Patti Smith,
Avey Tare's Slasher Flicks,
Barbara Tucker,
Glenn Branca,
Dr. Dre and Snoop Doggy Dog,
The Techniques,
Jeru the Damaja,
Tubeway Army,
The Birthday Party,
Das Ding,
Tomorrow,
The J.B.'s,
Au Pairs,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.