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 Nepal and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Tehran and New York.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Can to the electroclash 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 The Chocolate Watch Band. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Lalann record on German import.
I heard that you have a white label of every seminal punk 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 mellotron 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 chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Soul II Soul,
Wire,
The United States of America,
Cabaret Voltaire,
Adolescents,
Alphaville,
Magma,
Selector Dub Narcotic,
Black Pus,
Popol Vuh,
Zero Boys,
Throbbing Gristle,
Funkadelic,
The Slits,
Lalo Schifrin,
The Alarm Clocks,
Spandau Ballet,
Kerrie Biddell,
Yellowson,
The Dead C,
Matthew Halsall,
Fort Wilson Riot,
Scan 7,
The Fugs,
Unwound,
the Slits,
Josef K,
Warren Ellis,
Angry Samoans,
The Stooges,
Duran Duran,
Pharaoh Sanders and the Fire Engines,
Wings,
Motorama,
The Count Five,
Masters at Work,
Howard Jones,
Barbara Tucker,
Beasts of Bourbon,
Scott Walker,
Rakim,
The Move,
Gary Puckett & The Union Gap,
Ultramagnetic MC's,
Andrew Hill,
The Dave Clark Five,
New Age Steppers,
Ossler,
Godley & Creme,
Vladislav Delay,
Strawberry Alarm Clock,
Flipper,
Peter and Kerry,
Deutsch Amerikanische Freundschaft,
Public Enemy,
Pantytec,
Rod Modell,
Jimmy McGriff,
Darondo,
Notorious BIG live in Amsterdam,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.