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 India and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1977.
I'm losing my edge.
To all the kids in Lagos and Cairo.
I'm losing my edge to the art-school Portland 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 Lewis practice in a loft in Vancouver.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Stockholm Monsters to the jazz 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 The Divine Comedy. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet 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 marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
The Chocolate Watch Band,
Todd Terry,
CMW,
Selector Dub Narcotic,
Crispy Ambulance,
Kings Of Tomorrow,
The Golliwogs,
The Fortunes,
The Selecter,
Theoretical Girls,
Major Organ And The Adding Machine,
Notorious Big And Bone Thugs,
Josef K,
Sixth Finger,
Monolake,
The Count Five,
LL Cool J,
Grandmaster Flash,
Ponytail,
Aloha Tigers,
The Smiths,
Moss Icon,
Black Flag,
Soul Sonic Force,
The Five Americans,
Lightning Bolt,
Gabor Szabo,
Alphaville,
Donny Hathaway,
Fort Wilson Riot,
The Offenders,
Ohio Players,
Amon Düül,
Lebanon Hanover,
The Cosmic Jokers,
The Zeros,
Crispian St. Peters,
The American Breed,
Sexual Harrassment,
Barry Ungar,
The Happenings,
Crash Course in Science,
Funky Four + One,
Ossler,
Eyeless In Gaza,
De La Soul & Jungle Brothers,
The J.B.'s,
Yazoo,
The Fire Engines,
The Electric Prunes,
Index,
Unrelated Segments,
The Leaves,
Erykah Badu,
Traffic Nightmare,
Camberwell Now,
Kool Moe Dee,
Aaron Thompson,
A Certain Ratio,
Blancmange,
The Gories,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.