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 South Sudan and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Taipei 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 Soft Boys practice in a loft in Cambridge.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Roy Ayers Ubiquity to the dance kids.
I played it at the Roxy.
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 Peter & Gordon. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Faust 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 snare and a spring reverb 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 sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
The Electric Prunes,
Spandau Ballet,
Desert Stars,
U.S. Maple,
Richard Hell and the Voidoids,
Yusef Lateef,
Trumans Water,
Rites of Spring,
The Knickerbockers,
Soft Cell,
X-Ray Spex,
Sunsets and Hearts,
Sex Pistols,
Faraquet,
Infiniti,
Ludus,
Gregory Isaacs,
The Leaves,
New York Dolls,
Delta 5,
Nils Olav,
Liliput,
Toni Rubio,
Boogie Down Productions,
Fluxion,
Jeff Mills,
Pulsallama,
Subhumans,
Graham Central Station,
Ken Boothe,
Qualms,
Maleditus Sound,
The Selecter,
Banda Bassotti,
Cymande,
Lonnie Liston Smith,
Bobby Hutcherson,
Suicide,
X-101,
Fort Wilson Riot,
the Swans,
The Fire Engines,
John Holt,
Pere Ubu,
The Human League,
Technova,
The Peanut Butter Conspiracy,
Glambeats Corp.,
Ronnie Foster,
Kaleidoscope,
Rotary Connection,
Michelle Simonal,
Blake Baxter,
Minutemen,
B.T. Express,
Kas Product,
The Standells,
Barrington Levy,
Donald Byrd,
Porter Ricks,
Man Eating Sloth,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.