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 Ukraine and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
I'm losing my edge to the art-school Columbus 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 The Fortunes to the punk kids.
I played it at the Spitz.
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 Harpers Bizarre. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Vainqueur record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a theremin 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 snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Roy Ayers Ubiquity,
Fatback Band,
Mr. Review,
Schoolly D,
The Barracudas,
Sällskapet,
Art Ensemble Of Chicago,
The Detroit Cobras,
The Fortunes,
Angry Samoans,
Gong,
The Fall,
Eric Dolphy,
Quando Quango,
48th St. Collective,
The Move,
Hot Snakes,
Gil Scott Heron,
Marc Almond,
Fat Boys,
Pantaleimon,
The Saints,
Masters at Work,
New Age Steppers,
The Busters,
Dual Sessions,
The Grass Roots,
The Pop Group,
David McCallum,
David Bowie,
A Certain Ratio,
The Moody Blues,
Jesper Dahlback,
The Martian,
Scion,
Laurel Aitken,
Das Ding,
China Crisis,
Dave Gahan,
Deakin,
Stetsasonic,
Technova,
Lalo Schifrin,
The Doors,
Joy Division,
Drive Like Jehu,
Tim Buckley,
Sad Lovers and Giants,
Siglo XX,
Liliput,
Whodini,
Visage,
The Alarm Clocks,
The Blues Magoos,
Skaos,
Gregory Isaacs,
Talk Talk,
Arcadia,
Harpers Bizarre,
Gang of Four,
Deutsch Amerikanische Freundschaft,
Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel, Camron Feat. Memphis Bleek And Beenie Seigel.
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.