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 Burkina and from Accra.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Houston 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 rhodes 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 T.S.O.L. to the funk 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 Barbara Tucker. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every The Slackers 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 '80s.
I hear you're buying a rhodes and a guitar 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 arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
The West Coast Pop Art Experimental Band,
Echo & the Bunnymen,
Warsaw,
Manfred Mann's Earth Band,
Röyhkä ja Rättö ja Lehtisalo,
Lebanon Hanover,
Black Pus,
The Smiths,
Tom Boy,
Shuggie Otis,
The Monks,
Japan,
The Invisible,
The Vogues,
Black Flag,
48th St. Collective,
Grandmaster Flash,
Deutsch Amerikanische Freundschaft,
Nick Cave & The Bad Seeds,
Eric Copeland,
The Pop Group,
Organ,
Sonny Sharrock,
Notorious Big And Bone Thugs,
Art Ensemble Of Chicago,
Rod Modell,
Terrestrial Tones,
Flamin' Groovies,
La Düsseldorf,
the Soft Cell,
Quando Quango,
the Human League,
Sticky Fingaz feat. Raekwon,
Barrington Levy,
Ituana,
Andrew Ashong & Theo Parrish,
Rowland S Howard / Lydia Lunch,
Angry Samoans,
The Leaves,
Justin Hinds & The Dominoes,
The Index,
Magma,
The Standells,
Soulsonic Force,
The Shadows of Knight,
Porter Ricks,
David Bowie,
Mission of Burma,
The Mojo Men,
Brass Construction,
Yusef Lateef,
The Searchers,
Delon & Dalcan,
David McCallum,
Liaisons Dangereuses,
Altered Images,
The Slackers,
Stereo Dub,
Franke,
R.M.O.,
The Star Department, The Star Department, The Star Department, The Star Department.
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.