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 Trinidad & Tobago and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Columbus and Taipei.
I'm losing my edge to the art-school Shanghai 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Bobby Hutcherson 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 Red Lorry Yellow Lorry. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and an oboe 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 marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Ituana,
Delon & Dalcan,
Scratch Acid,
Soft Machine,
DNA,
Faraquet,
Teenage Jesus and the Jerks,
Graham Central Station,
Newcleus,
AZ,
Electric Prunes,
Marcia Griffiths,
Leonard Cohen,
Stereo Dub,
Swell Maps,
Swans,
New York Dolls,
Index,
Lyres,
The Fuzztones,
Roy Ayers,
Loose Ends,
PIL,
Unwound,
Fear,
Skriet,
48th St. Collective,
Roxy Music,
Marc Romboy vs. Booka Shade,
D'Angelo,
The Sonics,
Echospace,
Panda Bear,
Monolake,
Soulsonic Force,
DJ Sneak,
Crash Course in Science,
Larry & the Blue Notes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lalann,
Sexual Harrassment,
Quando Quango,
Cabaret Voltaire,
Rod Modell,
Andrew Ashong & Theo Parrish,
Section 25,
Lou Reed & John Cale,
Aaron Thompson,
The Remains,
The Busters,
Darondo,
Glambeats Corp.,
Hasil Adkins,
Marmalade,
Vladislav Delay,
The Black Dice,
Sun City Girls,
DJ Style,
Sonic Youth,
Soft Cell,
L. Decosne,
The Young Rascals,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.