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 Kuwait and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1973.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Accra 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 Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Masters at Work to the disco 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 Sexual Harrassment. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Leonard Cohen 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator 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 chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Drexciya,
Don Cherry,
Average White Band,
Heaven 17,
Bobby Sherman,
Can,
The Blackbyrds,
Fat Boys,
Big Daddy Kane,
Röyhkä ja Rättö ja Lehtisalo,
Jerry's Kids,
Bronski Beat,
Visionaries,LMNO, T- Love & Iriscience,
The Gories,
Eurythmics,
Fugazi,
Scott Walker + Sunn O))),
The Gun Club,
Sällskapet,
Whodini,
Basic Channel,
De La Soul & Jungle Brothers,
The American Breed,
Quando Quango,
Dual Sessions,
Barrington Levy,
Rufus Thomas,
Tom Boy,
Spoonie Gee,
Jesper Dahlback,
China Crisis,
June Days,
Robert Hood,
Khruangbin,
Gang Gang Dance,
The Pop Group,
Eddi Front,
The Last Poets,
X-Ray Spex,
Barbara Tucker,
Bobby Byrd,
Ultra Naté,
Qualms,
Mars,
Eli Mardock,
Ajijia Myrayebe,
Marmalade,
Neu!,
Bauhaus,
Pharoah Sanders,
Neil Young & Crazy Horse,
Eve St. Jones,
The Monks,
Porter Ricks,
Pharaoh Sanders and the Fire Engines,
Laurel Aitken,
Marine Girls,
Jawbox,
Major Organ And The Adding Machine,
Ornette Coleman,
Ken Boothe,
Camouflage,
Hoover,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.