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 Senegal and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Seoul and Paris.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 The Slits 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 Lindisfarne. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mad Mike record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Deakin,
Davy DMX,
Junior Murvin,
The Slits,
Bush Tetras,
X-102,
Porter Ricks,
The Victims,
The Human League,
Derrick May,
The Last Poets,
Brick,
Little Man,
Bobby Byrd,
The Cramps,
Half Japanese,
Joyce Sims,
Marmalade,
The Busters,
Red Lorry Yellow Lorry,
This Heat,
Harpers Bizarre,
Kenny Larkin,
The Walker Brothers,
Laurel Aitken,
Wire,
Gregory Isaacs,
Blake Baxter,
Agitation Free,
Thee Headcoats,
Mandrill,
Dave Gahan,
Yellowson,
Amon Düül II,
Prince Buster,
Boredoms,
Gastr Del Sol,
Chris Corsano,
Delta 5,
ABC,
Throbbing Gristle,
Saccharine Trust,
Frankie Knuckles,
La Düsseldorf,
Bronski Beat,
Bill Wells,
Tears for Fears,
The Music Machine,
Vainqueur,
The Fugs,
Cheater Slicks,
Monks,
Radiopuhelimet,
Panda Bear,
Skaos,
Sad Lovers and Giants,
Reagan Youth,
Crooked Eye,
Pharoah Sanders,
Joensuu 1685,
The Birthday Party,
Gil Scott Heron,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.