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 Belize and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Grauzone to the funk kids.
I played it at Trash.
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 Tommy Roe. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb 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?
Cluster,
Main Source,
The Kinks,
the Human League,
La Düsseldorf,
Public Image Ltd.,
Nico,
The Saints,
Grey Daturas,
Aswad,
Dead Boys,
Liaisons Dangereuses,
New Age Steppers,
Aural Exciters,
Gabor Szabo,
Eve St. Jones,
Franke,
Harry Pussy,
Kaleidoscope,
Porter Ricks,
The Flesh Eaters,
Oppenheimer Analysis,
Alison Limerick,
the Bar-Kays,
Barclay James Harvest,
The Gories,
cv313,
Nik Kershaw,
Lalann,
Andrew Ashong & Theo Parrish,
Alphaville,
Gong,
Gang of Four,
Sparks,
The Royal Family And The Poor,
Cybotron,
The Mighty Diamonds,
Fort Wilson Riot,
Supertramp,
Mr. Review,
Hot Snakes,
Pharoah Sanders,
Gil Scott-Heron & Brian Jackson,
The Motions,
Absolute Body Control,
The Vogues,
Rites of Spring,
Pylon,
Procol Harum,
The Gun Club,
The Real Kids,
Jacob Miller,
Suicide,
The Dave Clark Five,
Jimmy McGriff,
The Residents,
8 Eyed Spy,
Tres Demented,
Moss Icon,
Kool Moe Dee,
Pantaleimon,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.