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 Uzbekistan and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1979.
I'm losing my edge.
To all the kids in Taipei and Madrid.
I'm losing my edge to the art-school Columbus 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 sitar 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 The Modern Lovers to the dance kids.
I played it at the Troubador.
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 Barrington Levy. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal rap 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 a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Hashim record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Clear Light,
Lyres,
The Fugs,
Heavy D & The Boyz,
the Germs,
Brass Construction,
Minny Pops,
Los Fastidios,
James Chance & The Contortions,
Reuben Wilson,
Saccharine Trust,
R.M.O.,
De La Soul & Jungle Brothers,
The Red Krayola,
Theoretical Girls,
Au Pairs,
Kas Product,
Flamin' Groovies,
Crime,
Chrome,
Oblivians,
kango's stein massive,
Gang Gang Dance,
Godley & Creme,
Index,
UT,
Eric Dolphy,
New Order,
New Age Steppers,
Mary Jane Girls,
Altered Images,
Harpers Bizarre,
Orchestral Manoeuvres in the Dark,
Quando Quango,
Cymande,
Frankie Knuckles,
Dead Boys,
Notorious BIG live in Amsterdam,
The United States of America,
Slave,
Manfred Mann's Earth Band,
AZ,
Hashim,
John Holt,
Bauhaus,
Wings,
Nils Olav,
Connie Case,
Eddi Front,
Eden Ahbez,
Andrew Ashong & Theo Parrish,
June Days,
Roxy Music,
The Index,
John Lydon,
D'Angelo,
the Soft Cell,
Gil Scott Heron,
Ronnie Foster,
Radiopuhelimet,
Sight & Sound,
Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme.
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.