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 Guinea and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
I'm losing my edge to the art-school Bremen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the theremin 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 Mars to the crunk 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 Visage. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every The Dave Clark Five 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a 808 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 arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Technova,
Susan Cadogan,
Crime,
Gian Franco Pienzio,
Stetsasonic,
Dead Boys,
Underground Resistance,
Adolescents,
Arcadia,
Young Marble Giants,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Carl Craig,
Oneida,
Eve St. Jones,
Kerri Chandler,
Traffic Nightmare,
Kas Product,
Jerry Gold Smith,
PIL,
a-ha,
The Seeds,
Sight & Sound,
The Fall,
Trumans Water,
Boz Scaggs,
Ituana,
Hardrive,
Gong,
The Cosmic Jokers,
Alison Limerick,
Fluxion,
Agent Orange,
Sex Pistols,
Tim Buckley,
Davy DMX,
Erasure,
Amon Düül,
Guru Guru,
Public Image Ltd.,
Stockholm Monsters,
Q65,
Interpol,
Echospace,
Jeru the Damaja,
Cluster,
Kayak,
Suicide,
Dorothy Ashby,
Subhumans,
Excepter,
Terrestrial Tones,
Pylon,
Chris Corsano,
Ronan,
Gang of Four,
DNA,
The Slits,
Lou Christie,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.