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 Bangladesh and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1976.
I'm losing my edge.
To all the kids in New York and Manila.
I'm losing my edge to the art-school Tehran 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Wings to the electroclash kids.
I played it at the Hacienda.
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 Unrelated Segments. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Sun City Girls 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin 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 linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
The Wake,
Rhythm & Sound,
Cabaret Voltaire,
Marmalade,
Dr. Dre and Snoop Doggy Dog,
Glenn Branca,
The Leaves,
John Lydon,
Eric Copeland,
Kool Moe Dee,
Rites of Spring,
The Associates,
De La Soul & Jungle Brothers,
T.S.O.L.,
Chrome,
Altered Images,
Kaleidoscope,
Derrick May,
Siglo XX,
Sandy B,
Lebanon Hanover,
Mars,
Ossler,
The Sisters of Mercy,
Black Sheep,
Boredoms,
Monks,
Visionaries,LMNO, T- Love & Iriscience,
Schoolly D,
A Certain Ratio,
Soft Machine,
The Pop Group,
Glambeats Corp.,
Eve St. Jones,
Lower 48,
Zero Boys,
Ken Boothe,
Fugazi,
Suicide,
Tom Boy,
Urselle,
Henry Cow,
Essential Logic,
The Human League,
Spandau Ballet,
The Knickerbockers,
Man Eating Sloth,
Terry Callier,
Art Ensemble Of Chicago,
The Chocolate Watch Band,
In Retrospect,
Lakeside,
The Jesus and Mary Chain,
Guru Guru,
Colin Newman,
Lalo Schifrin,
The Victims,
The Monochrome Set,
The Monks,
Icehouse,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.