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 Zambia and from Salvador.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Mumbai 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 rap kids.
I played it at the Crocodile.
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 Piero Umiliani. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron 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 linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Kool G Rap & DJ Polo,
Lou Reed & John Cale,
Freddie Wadling,
D'Angelo,
Neil Young & Crazy Horse,
Alison Limerick,
Spoonie Gee,
Buzzcocks,
Cal Tjader,
Youth Brigade,
Radio Birdman,
Unwound,
Lonnie Liston Smith,
Gian Franco Pienzio,
Glambeats Corp.,
Charles Mingus,
K-Klass,
48th St. Collective,
The Moody Blues,
Byron Stingily,
Juan Atkins,
James Chance & The Contortions,
Ultramagnetic MC's,
Second Layer,
Pylon,
Intrusion,
Pulsallama,
Amazonics,
The Sound,
Jerry's Kids,
Grauzone,
The Searchers,
Drive Like Jehu,
Rites of Spring,
Danielle Patucci,
the Normal,
Johnny Clarke,
Rapeman,
Nik Kershaw,
Brass Construction,
Art Ensemble Of Chicago,
Pussy Galore,
Fifty Foot Hose,
Barry Ungar,
Maurizio,
Ultravox,
Ornette Coleman,
Stiv Bators,
Jesper Dahlback,
Michelle Simonal,
Joy Division,
The Doobie Brothers,
Japan,
Laurel Aitken,
Mad Mike,
Anthony Braxton,
The Gap Band,
The Move,
Bizarre Inc.,
the Germs,
DNA,
Fugazi, Fugazi, Fugazi, Fugazi.
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.