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 Kiribati and from Lagos.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Accra 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba 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 OOIOO to the grime 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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Unrelated Segments 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer 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 chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Heaven 17,
Faraquet,
Mad Mike,
Aaron Thompson,
Q and Not U,
Michelle Simonal,
The Mighty Diamonds,
Guru Guru,
Minutemen,
Judy Mowatt,
Eli Mardock,
The Red Krayola,
Mandrill,
Kango’s Stein Massive,
Camron Feat. Jay Z And Juelz,
Eric Dolphy,
Gang Green,
Soft Cell,
MDC,
Franke,
Don Cherry,
The Names,
David Bowie,
Cybotron,
Warsaw,
Lebanon Hanover,
The Velvet Underground,
Chrome,
Erasure,
The Blues Magoos,
The Real Kids,
Main Source,
Lou Christie,
Hot Snakes,
Second Layer,
Ajijia Myrayebe,
Patti Smith,
Mars,
Kenny Larkin,
Soft Machine,
Anthony Braxton,
The Cosmic Jokers,
Underground Resistance,
Country Joe & The Fish,
Minny Pops,
The Last Poets,
Stereo Dub,
Eden Ahbez,
The Grass Roots,
Banda Bassotti,
The Gladiators,
The Modern Lovers,
Ronan,
Grauzone,
The Divine Comedy,
Boredoms,
Lalann,
Jawbox,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.