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 Seychelles and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1971.
I'm losing my edge.
To all the kids in Paris and Johannesburg.
I'm losing my edge to the art-school Beijing 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 Max Romeo to the grime 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 Danielle Patucci. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron 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 theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Ultramagnetic MC's,
The Human League,
Ajijia Myrayebe,
Charles Mingus,
The Cowsills,
Eyeless In Gaza,
Visage,
Wings,
R.M.O.,
Arab on Radar,
The Techniques,
Niagra,
Technova,
Pierre Henry,
Drive Like Jehu,
Cluster,
Arcadia,
Avey Tare's Slasher Flicks,
The Red Krayola,
Cheater Slicks,
the Fania All-Stars,
Au Pairs,
The Invisible,
Spandau Ballet,
T.S.O.L.,
The Detroit Cobras,
Radiohead,
Chris Corsano,
Underground Resistance,
Be Bop Deluxe,
Wighnomy Brothers & Robag Wruhme,
The Fall,
Trumans Water,
U.S. Maple,
Monks,
Sugar Minott,
Bush Tetras,
The Pretty Things,
Radio Birdman,
Kas Product,
L. Decosne,
Thompson Twins,
Loose Ends,
The Associates,
Goldenarms,
The J.B.'s,
Cal Tjader,
Banda Bassotti,
the Human League,
Jawbox,
Gang Starr,
Delon & Dalcan,
Sarah Menescal,
Pussy Galore,
The Dave Clark Five,
Letta Mbulu,
The Divine Comedy,
Zero Boys,
Curtis Mayfield,
The West Coast Pop Art Experimental Band,
Kauko Röyhkä ja Narttu,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.