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 Benin and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Paris and Milan.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Dark Day to the disco 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 Don Cherry. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Nation of Ulysses 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 '80s.
I hear you're buying a theremin and an oboe 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 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Qualms,
Boogie Down Productions,
Livin' Joy,
The Cure,
Little Man,
Soft Machine,
Radiohead,
James Chance & The Contortions,
Lonnie Liston Smith,
cv313,
Zapp,
Electric Prunes,
Pulsallama,
Black Moon,
KRS-One,
Soft Cell,
Parry Music,
Rites of Spring,
A Flock of Seagulls,
Fugazi,
The Buckinghams,
Neil Young & Crazy Horse,
Wings,
Public Enemy,
Fela Kuti,
Simply Red,
Notorious Big And Bone Thugs,
Aural Exciters,
Country Teasers,
Clear Light,
Anakelly,
The Sisters of Mercy,
The Walker Brothers,
Ice-T,
Malaria!,
Bill Wells,
Joe Finger,
Gang of Four,
EPMD,
Lungfish,
Masters at Work,
Stereo Dub,
Cymande,
Grandmaster Flash and the Furious Five,
The Leaves,
Bobby Hutcherson,
The Sonics,
David Axelrod,
Kauko Röyhkä ja Narttu,
Bang On A Can,
Skriet,
Leonard Cohen,
DeepChord presents Echospace,
Jandek,
The Fire Engines,
The Angels of Light,
Hashim,
Jerry's Kids,
Animal Collective,
Heaven 17,
Spoonie Gee,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.