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 United Kingdom and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Cairo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Age Steppers to the jazz kids.
I played it at CBGB's.
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 Eddi Front. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Urselle 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a synthesizer 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 marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Captain Beefheart & His Magic Band,
Bluetip,
Blake Baxter,
Pet Shop Boys,
Art Ensemble Of Chicago,
Stetsasonic,
James Chance & The Contortions,
Harry Pussy,
Robert Wyatt,
Ten City,
Mary Jane Girls,
Model 500,
Harpers Bizarre,
Chris Corsano,
Thompson Twins,
Oneida,
Pole,
David Axelrod,
the Sonics,
Ken Boothe,
KRS-One,
Ituana,
The Selecter,
Kurtis Blow,
Jacques Brel,
F. McDonald,
Cecil Taylor,
Public Enemy,
Flash Fearless,
Pylon,
Swell Maps,
MC5,
Archie Shepp,
Stereo Dub,
The Knickerbockers,
Louis and Bebe Barron,
EPMD,
Fluxion,
Y Pants,
Mo-Dettes,
Derrick Morgan,
Dark Day,
The Leaves,
Nation of Ulysses,
Mandrill,
Jerry's Kids,
Albert Ayler,
The Raincoats,
Rotary Connection,
Ronnie Foster,
Black Bananas,
Funky Four + One,
Arcadia,
Faust,
Aswad,
Big Daddy Kane,
The Fall,
Can,
Jawbox,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.