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 Argentina and from Philadelphia.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Madrid 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Sly & The Family Stone to the techno kids.
I played it at the Spitz.
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 Little Man. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal rock 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 snare and a rhodes 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 harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Godley & Creme,
Rowland S Howard / Lydia Lunch,
The Mojo Men,
Bob Dylan,
Trumans Water,
Youth Brigade,
Con Funk Shun,
Gang Starr,
The Gladiators,
Glambeats Corp.,
Bill Wells,
Steve Hackett,
Skaos,
Fad Gadget,
Lou Reed,
Juan Atkins,
Sandy B,
X-102,
Rakim,
Chrome,
Avey Tare,
Pussy Galore,
Pet Shop Boys,
Gabor Szabo,
Avey Tare's Slasher Flicks,
Lalann,
Chris Corsano,
Crash Course in Science,
Wire,
Visionaries,LMNO, T- Love & Iriscience,
Eric B and Rakim,
Porter Ricks,
Jesper Dahlbäck,
Soulsonic Force,
Flipper,
Young Marble Giants,
Terry Callier,
Smog,
Adolescents,
Massinfluence,
Rapeman,
Can,
Saccharine Trust,
Bootsy's Rubber Band,
Khruangbin,
Talk Talk,
Thompson Twins,
Livin' Joy,
Organ,
The Music Machine,
Dennis Brown,
Stockholm Monsters,
Derrick Morgan,
Japan,
Brand Nubian,
The Real Kids,
Minutemen,
Sixth Finger,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.