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 Serbia and from Accra.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and Mexico City.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer 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 N.O.R.E. Featuring Pharrell to the dance 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 China Crisis. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes 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 snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Faust,
Sly & The Family Stone,
KRS-One,
The Pop Group,
Piero Umiliani,
Mary Jane Girls,
Bobby Hutcherson,
R.M.O.,
Terror Squad Feat. Camron,
Can,
DNA,
Danielle Patucci,
Roy Ayers,
Jeff Mills,
Jesper Dahlback,
It's A Beautiful Day,
Ajijia Myrayebe,
Cameo,
Rekid,
Duran Duran,
Jeru the Damaja,
James Chance & The Contortions,
Boogie Down Productions,
Stereo Dub,
The Blues Magoos,
Theoretical Girls,
Sandy B,
Be Bop Deluxe,
Kings Of Tomorrow,
Television Personalities,
U.S. Maple,
Amon Düül II,
Gil Scott-Heron & Brian Jackson,
Ultravox,
David Bowie,
Outsiders,
the Slits,
Nirvana,
Deadbeat,
The Doors,
X-101,
Rhythm & Sound,
Reagan Youth,
June of 44,
The Chocolate Watch Band,
John Cale,
Quando Quango,
Desert Stars,
Mantronix,
David McCallum,
B.T. Express,
This Heat,
Stockholm Monsters,
Avey Tare & Kría Brekkan,
Dorothy Ashby,
Severed Heads,
Idris Muhammad,
Hasil Adkins,
Sparks,
Cabaret Voltaire,
Popol Vuh,
Magazine,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.