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 Guatemala and from Toronto.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Tehran and Calgary.
I'm losing my edge to the art-school Lyon 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 sitar 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 Blake Baxter to the disco kids.
I played it at the Hacienda.
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 Groovy Waters. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal crunk 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 linndrum and an arpeggiator 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 harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Susan Cadogan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Colin Newman,
Prince Buster,
Orchestral Manoeuvres in the Dark,
Junior Murvin,
Gil Scott-Heron and Jamie xx,
Fluxion,
Robert Görl,
The Seeds,
The Cramps,
Danielle Patucci,
Blossom Toes,
Selector Dub Narcotic,
Soft Cell,
Maleditus Sound,
Brass Construction,
Terry Callier,
Marc Romboy vs. Booka Shade,
Marshall Jefferson,
Beasts of Bourbon,
Adolescents,
Fad Gadget,
The Monks,
Sixth Finger,
The Dirtbombs,
Moss Icon,
Minutemen,
Joy Division,
Deadbeat,
Q and Not U,
Minor Threat,
Joe Finger,
Curtis Mayfield,
John Lydon,
Lakeside,
Scott Walker,
Alton Ellis,
Y Pants,
Fifty Foot Hose,
Public Enemy,
The Smoke,
Lindisfarne,
Circle Jerks,
The Cosmic Jokers,
Glenn Branca,
KRS-One,
Sugar Minott,
Rowland S Howard / Lydia Lunch,
Letta Mbulu,
John Holt,
Spandau Ballet,
Von Mondo,
DJ Sneak,
Tubeway Army,
Underground Resistance,
Peter and Kerry,
Joe Smooth,
The Smiths,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.