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 Senegal and from Columbus.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 X-101 to the techno kids.
I played it at the Crocodile.
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 The Peanut Butter Conspiracy. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every John Foxx 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes 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 rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Duran Duran,
Reagan Youth,
Ultramagnetic MC's,
Peter & Gordon,
The Seeds,
Yazoo,
Cameo,
Captain Beefheart & His Magic Band,
Crooked Eye,
The Music Machine,
Technova,
Radio Birdman,
Sun City Girls,
Monks,
Saccharine Trust,
The Cure,
X-101,
The Busters,
Blossom Toes,
Sister Nancy,
One Last Wish,
Excepter,
Bush Tetras,
F. McDonald,
Bronski Beat,
Mr. Review,
Rotary Connection,
Lalann,
Nico,
Pole,
The Kinks,
Stetsasonic,
Kauko Röyhkä ja Narttu,
Rhythm & Sound,
the Soft Cell,
Scrapy,
The Flesh Eaters,
the Association,
Ronnie Foster,
Gian Franco Pienzio,
It's A Beautiful Day,
DeepChord presents Echospace,
Crime,
Connie Case,
Scott Walker,
Röyhkä ja Rättö ja Lehtisalo,
The Moody Blues,
Crispian St. Peters,
London Community Gospel Choir,
Johnny Clarke,
Nas,
Sarah Menescal,
Anakelly,
Desert Stars,
Gichy Dan,
Orchestral Manoeuvres in the Dark,
Dave Gahan,
Derrick May,
Scratch Acid,
Ultra Naté,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.