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 Cameroon and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Madrid and Seoul.
I'm losing my edge to the art-school Madrid 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 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 the Association to the rap 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 Mark Hollis. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal funk 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
La Düsseldorf,
Mission of Burma,
Kerrie Biddell,
London Community Gospel Choir,
Kerri Chandler,
Boredoms,
Public Enemy,
The Remains,
Mo-Dettes,
Todd Rundgren,
Sonny Sharrock,
Letta Mbulu,
DNA,
Radio Birdman,
The Pop Group,
Arcadia,
Lalo Schifrin,
Ponytail,
Tubeway Army,
OOIOO,
Technova,
Soulsonic Force,
Oneida,
F. McDonald,
The Moleskins,
AZ,
Malaria!,
Matthew Bourne,
David Axelrod,
Eric Copeland,
The J.B.'s,
The Fuzztones,
Jawbox,
Bronski Beat,
Ohio Players,
Slick Rick,
The Walker Brothers,
Grandmaster Flash and the Furious Five,
K-Klass,
The Cosmic Jokers,
Nick Cave & The Bad Seeds,
Boz Scaggs,
UT,
The Leaves,
Cameo,
Motorama,
Ice-T,
Young Marble Giants,
Ultramagnetic MC's,
Von Mondo,
Tom Boy,
Andrew Ashong & Theo Parrish,
Television Personalities,
The Barracudas,
A Flock of Seagulls,
Subhumans,
Camberwell Now,
The Flesh Eaters,
Symarip,
Dorothy Ashby,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.