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 Iraq and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
I'm losing my edge to the art-school Manchester 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Notorious Big And Bone Thugs to the techno kids.
I played it at CBGB's.
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 Be Bop Deluxe. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Shuggie Otis,
Shoche,
Sun Ra,
Tom Boy,
Skaos,
John Holt,
Pagans,
DJ Style,
The Monks,
The Alarm Clocks,
Eli Mardock,
Silicon Teens,
Piero Umiliani,
Marshall Jefferson,
Funky Four + One,
Visionaries,LMNO, T- Love & Iriscience,
Terrestrial Tones,
Liliput,
Gary Puckett & The Union Gap,
Gil Scott-Heron and Jamie xx,
Neu!,
Make Up,
The New Christs,
David McCallum,
Jesper Dahlback,
The Dirtbombs,
Porter Ricks,
Vainqueur,
Whodini,
Main Source,
Notorious BIG live in Amsterdam,
DJ Sneak,
The Five Americans,
Kerrie Biddell,
Swans,
Bobby Hutcherson,
Radio Birdman,
The Tremeloes,
Pulsallama,
Sun Ra Arkestra,
Q and Not U,
Massinfluence,
Robert Wyatt,
Mantronix,
Althea and Donna,
Blake Baxter,
Oppenheimer Analysis,
The Moleskins,
Letta Mbulu,
Peter and Kerry,
Smog,
Eurythmics,
Janne Schatter,
Bronski Beat,
Lebanon Hanover,
A Certain Ratio,
Brick,
Kas Product,
Notorious Big And Bone Thugs,
Bobbi Humphrey,
Orchestral Manoeuvres in the Dark,
Nico, Nico, Nico, Nico.
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.