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 Luxembourg and from Salvador.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Tokyo 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Lower 48 to the grunge kids.
I played it at the Crocodile.
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 Yellowson. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal grime 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 güiro and a rhodes 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 theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Howard Jones,
Country Joe & The Fish,
Heavy D & The Boyz,
Supertramp,
Kevin Saunderson,
Eli Mardock,
The Busters,
Bronski Beat,
Marshall Jefferson,
Soulsonic Force,
Rites of Spring,
Kauko Röyhkä ja Narttu,
Make Up,
Sun Ra Arkestra,
Ronan,
London Community Gospel Choir,
Index,
The Cramps,
Richard Hell and the Voidoids,
Drive Like Jehu,
DNA,
Nils Olav,
Tears for Fears,
Nas,
Negative Approach,
Thinking Fellers Union Local 282,
Derrick Morgan,
the Bar-Kays,
The Wake,
Pantaleimon,
The Dave Clark Five,
Circle Jerks,
Crispian St. Peters,
Funkadelic,
Aaron Thompson,
Marvin Gaye,
R.M.O.,
Loose Ends,
Urselle,
Newcleus,
The J.B.'s,
John Coltrane,
Barrington Levy,
The Index,
Juan Atkins,
The West Coast Pop Art Experimental Band,
Fela Kuti,
Louis and Bebe Barron,
New York Dolls,
Crime,
Cheater Slicks,
Moebius,
Dawn Penn,
Cal Tjader,
Lizzy Mercier Descloux,
The Trojans,
Avey Tare & Kría Brekkan,
Altered Images,
FM Einheit,
Gang Gang Dance,
The Selecter,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.