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 Bologna.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Jakarta.
I'm losing my edge to the art-school Woodstock 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 DNA to the rap kids.
I played it at the Roxy.
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 Richard Hell and the Voidoids. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Ossler,
Rapeman,
Ten City,
Bill Wells,
Yaz,
Alphaville,
EPMD,
Fluxion,
The Doors,
Funky Four + One,
The Star Department,
Neu!,
The Seeds,
The Mummies,
The Blackbyrds,
Lou Christie,
Danielle Patucci,
Orchestral Manoeuvres in the Dark,
DNA,
Wally Richardson,
Kenny Larkin,
Easy Going,
Aural Exciters,
The Fuzztones,
U.S. Maple,
Joey Negro,
Blake Baxter,
Echo & the Bunnymen,
Bootsy Collins,
Liliput,
Cluster,
The Walker Brothers,
Symarip,
Kerri Chandler,
The Gories,
The Detroit Cobras,
Ultramagnetic MC's,
Teenage Jesus and the Jerks,
Harry Pussy,
New Age Steppers,
Zapp,
Kurtis Blow,
Von Mondo,
Crash Course in Science,
Surgeon,
Fad Gadget,
Aswad,
PIL,
The Busters,
Outsiders,
Rosa Yemen,
Roger Hodgson,
Skaos,
Fela Kuti,
Lucky Dragons,
Derrick Morgan,
Stiv Bators,
Roy Ayers,
Stetsasonic,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.