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 Senegal and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Milan 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 Wire practice in a loft in Watford.
I was working on the oboe 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 Michelle Simonal to the disco kids.
I played it at the Troubador.
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 Brass Construction. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every The Barracudas 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 a clarinet 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 clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
The Golliwogs,
Davy DMX,
Technova,
Avey Tare,
Audionom,
Rites of Spring,
Gang of Four,
Glenn Branca,
Unrelated Segments,
Ash Ra Tempel,
Pylon,
Rufus Thomas,
The Doobie Brothers,
Robert Wyatt,
John Holt,
Man Eating Sloth,
The Moody Blues,
Reuben Wilson,
Barrington Levy,
Sugar Minott,
the Normal,
Sixth Finger,
PIL,
Radiohead,
Derrick May,
Peter and Kerry,
Gerry Rafferty,
Yusef Lateef,
Terry Callier,
De La Soul & Jungle Brothers,
Bluetip,
Bobby Sherman,
Delta 5,
the Soft Cell,
Robert Hood,
Rosa Yemen,
Minnie Riperton,
Warsaw,
Pharoah Sanders,
Nirvana,
Average White Band,
Andrew Hill,
The Remains,
Brand Nubian,
Radiopuhelimet,
Lakeside,
The Electric Prunes,
John Foxx,
Circle Jerks,
The Walker Brothers,
Dave Gahan,
Harpers Bizarre,
The New Christs,
Pulsallama,
Cybotron,
Fat Boys,
Sonny Sharrock,
Lou Reed & John Cale,
New Age Steppers,
Piero Umiliani,
Graham Central Station,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.