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 Vanuatu and from Salvador.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Beijing and Cairo.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the clarinet 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 Boz Scaggs to the rock kids.
I played it at the Troubador.
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 Chris & Cosey. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal crunk 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 a linndrum and a güiro 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 synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Japan,
Little Man,
Von Mondo,
Vaughan Mason & Crew,
Terry Callier,
Grandmaster Flash,
Sexual Harrassment,
The Vogues,
Pete Rock & C.L. Smooth,
Q65,
Glenn Branca,
Todd Rundgren,
Pantaleimon,
cv313,
Barrington Levy,
Intrusion,
E-Dancer,
Lou Reed & Metallica,
Marc Almond,
Judy Mowatt,
Gian Franco Pienzio,
Teenage Jesus and the Jerks,
Rekid,
Sad Lovers and Giants,
Deutsch Amerikanische Freundschaft,
Colin Newman,
Alison Limerick,
Silicon Teens,
De La Soul & Jungle Brothers,
Beasts of Bourbon,
Shoche,
R.M.O.,
Liliput,
Toni Rubio,
Joe Finger,
The Fire Engines,
Marshall Jefferson,
Joensuu 1685,
Gastr Del Sol,
The Sound,
Porter Ricks,
Thee Headcoats,
James Chance & The Contortions,
Janne Schatter,
Jesper Dahlback,
Parry Music,
Jesper Dahlbäck,
Echospace,
Eve St. Jones,
Crime,
Crooked Eye,
Livin' Joy,
The Offenders,
Robert Wyatt,
Be Bop Deluxe,
Interpol,
Freddie Wadling,
Notorious BIG live in Amsterdam,
Half Japanese,
Amon Düül II,
Siglo XX,
Gil Scott Heron,
Marmalade, Marmalade, Marmalade, Marmalade.
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.