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 Mauritania and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1971.
I'm losing my edge.
To all the kids in Columbus and Lagos.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum 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 Black Moon to the dance kids.
I played it at the Roxy.
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 Hasil Adkins. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Scientists record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar 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 spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Todd Terry,
Anthony Braxton,
Joensuu 1685,
Susan Cadogan,
Art Ensemble Of Chicago,
Parry Music,
The West Coast Pop Art Experimental Band,
Minny Pops,
Crash Course in Science,
Section 25,
the Association,
The Dead C,
Saccharine Trust,
Derrick Morgan,
Rhythim Is Rhythim,
Jacob Miller,
Duran Duran,
Main Source,
Little Man,
Excepter,
New Age Steppers,
The Barracudas,
Joey Negro,
James White and The Blacks,
The Cramps,
Derrick May,
MC5,
the Swans,
Rufus Thomas,
Kings Of Tomorrow,
Barclay James Harvest,
The Doobie Brothers,
Lalo Schifrin,
Strawberry Alarm Clock,
Tomorrow,
Hashim,
Alphaville,
Roxy Music,
Q65,
Ultramagnetic MC's,
Albert Ayler,
Reuben Wilson,
Tommy Roe,
Roxette,
The Evens,
Donny Hathaway,
Tim Buckley,
Eli Mardock,
David Bowie,
Kaleidoscope,
Nick Fraelich,
Sly & The Family Stone,
The Techniques,
CMW,
Suburban Knight,
The Last Poets,
Cecil Taylor,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.