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 Hungary and from London.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Black Flag to the jazz kids.
I played it at the Hacienda.
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 Harry Pussy. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal disco 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 theremin and a marimba 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 mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
Pharaoh Sanders and the Fire Engines,
Fifty Foot Hose,
Fort Wilson Riot,
Steve Hackett,
Stiv Bators,
Selector Dub Narcotic,
Funky Four + One,
Niagra,
8 Eyed Spy,
Country Teasers,
The Star Department,
Barrington Levy,
Bill Wells,
Swell Maps,
Monks,
Kerri Chandler,
Newcleus,
Marc Almond,
a-ha,
Stereo Dub,
The Remains,
Kool G Rap & DJ Polo,
The Birthday Party,
Simply Red,
Angels of Light & Akron/Family,
Agent Orange,
Flash Fearless,
Max Romeo,
The Evens,
Joy Division,
Soft Machine,
Terrestrial Tones,
Aswad,
Trumans Water,
Y Pants,
Throbbing Gristle,
The Fire Engines,
Average White Band,
Bill Near,
Peter and Kerry,
Grandmaster Flash and the Furious Five,
Porter Ricks,
Eyeless In Gaza,
Mars,
Tommy Roe,
Slave,
The Last Poets,
Subhumans,
The Young Rascals,
FM Einheit,
Sight & Sound,
Tropical Tobacco,
Anakelly,
Crime,
These Immortal Souls,
Röyhkä ja Rättö ja Lehtisalo,
Parry Music,
Terry Callier,
Technova,
Heavy D & The Boyz,
Radiohead, Radiohead, Radiohead, Radiohead.
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.