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 Finland and from Stockholm.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe 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 The Victims to the electroclash kids.
I played it at the Spitz.
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 Trojans. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe 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 mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Young Marble Giants,
Slave,
Grandmaster Flash,
Mandrill,
The Victims,
Dorothy Ashby,
Suicide,
The Kinks,
The Dave Clark Five,
DNA,
Graham Central Station,
Harmonia,
Kurtis Blow,
Lalann,
Aaron Thompson,
The Skatalites,
Symarip,
Glenn Branca,
Smog,
Gabor Szabo,
The American Breed,
Chris & Cosey,
Eric B and Rakim,
Matthew Halsall,
Lalo Schifrin,
Iggy Pop,
Jacob Miller,
Swell Maps,
Derrick May,
Mission of Burma,
Warren Ellis,
Negative Approach,
Davy DMX,
Michelle Simonal,
Alice Coltrane,
Animal Collective,
LL Cool J,
New Order,
Saccharine Trust,
Zapp,
Aloha Tigers,
Steve Hackett,
Unwound,
The Blues Magoos,
The Standells,
Depeche Mode,
Half Japanese,
Mark Hollis,
Al Stewart,
Drive Like Jehu,
the Association,
Country Joe & The Fish,
Robert Hood,
Anthony Braxton,
The Raincoats,
The Move,
Model 500,
The Cramps,
Japan,
The Moleskins,
Nas,
Cybotron,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.