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 Slovakia and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Bremen.
I'm losing my edge to the art-school Bremen 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 Bronski Beat practice in a loft in Brixton.
I was working on the chamberlin 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 New Order to the rock kids.
I played it at the Astoria.
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 Schoolly D. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Dual Sessions 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba 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 arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Archie Shepp,
Ken Boothe,
Vainqueur,
Barry Ungar,
Eric Dolphy,
Icehouse,
Nation of Ulysses,
Junior Murvin,
The Monochrome Set,
Brick,
Wasted Youth,
Motorama,
Rhythm & Sound,
The West Coast Pop Art Experimental Band,
Dorothy Ashby,
Tears for Fears,
The Fire Engines,
Drive Like Jehu,
Jerry's Kids,
Anakelly,
Oneida,
Cybotron,
Bobby Womack,
Eurythmics,
Jesper Dahlback,
The Dirtbombs,
Lonnie Liston Smith,
LL Cool J,
Gichy Dan,
Boredoms,
Reagan Youth,
Charles Mingus,
Marvin Gaye,
Smog,
T.S.O.L.,
June Days,
The Names,
Sight & Sound,
Severed Heads,
Shuggie Otis,
The Five Americans,
Ornette Coleman,
Alice Coltrane,
Skarface,
Rowland S Howard / Lydia Lunch,
Girls At Our Best!,
Freddie Wadling,
Tres Demented,
Joensuu 1685,
Flash Fearless,
Little Man,
Amon Düül II,
Heaven 17,
Groovy Waters,
Juan Atkins,
The Star Department,
The Toasters,
The Human League,
The Raincoats,
Public Image Ltd.,
Camouflage,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.