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 Honduras and from Houston.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Tokyo and Houston.
I'm losing my edge to the art-school Accra 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Kool G Rap & DJ Polo to the dance 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 Connie Case. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and an arpeggiator 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?
Warsaw,
Zapp,
Electric Prunes,
Pantaleimon,
Maleditus Sound,
Lightning Bolt,
Jawbox,
The Count Five,
Scientists,
Marine Girls,
David Axelrod,
Urselle,
A Flock of Seagulls,
Erasure,
Steve Hackett,
Spandau Ballet,
Terrestrial Tones,
Rhythim Is Rhythim,
Siglo XX,
Kas Product,
D'Angelo,
Boz Scaggs,
Con Funk Shun,
Ohio Players,
Louis and Bebe Barron,
Pierre Henry,
Brass Construction,
Drive Like Jehu,
Ossler,
Rakim,
Gong,
8 Eyed Spy,
Moby Grape,
Vaughan Mason & Crew,
Big Daddy Kane,
Crash Course in Science,
Flamin' Groovies,
Circle Jerks,
Lou Reed & Metallica,
Connie Case,
Dead Boys,
The Buckinghams,
Minor Threat,
The Slits,
Von Mondo,
Stockholm Monsters,
Agent Orange,
a-ha,
Harry Pussy,
Visionaries,LMNO, T- Love & Iriscience,
Hashim,
The Barracudas,
The Monks,
Soft Machine,
Subhumans,
Popol Vuh,
Kurtis Blow,
Wasted Youth,
Qualms,
Ludus, Ludus, Ludus, Ludus.
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.