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 Nigeria and from Halifax.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Woodstock 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 Human League practice in a loft in Sheffield.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Depeche Mode to the jazz kids.
I played it at the 40 Watt.
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 Frankie Knuckles. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Lyres 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 a snare 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 theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Rites of Spring,
Stockholm Monsters,
EPMD,
The Alarm Clocks,
Bang on a Can All-Stars,
The Barracudas,
Icehouse,
Max Romeo,
Glenn Branca,
Roger Hodgson,
Wighnomy Brothers & Robag Wruhme,
Jesper Dahlback,
Bad Manners,
Magazine,
Mandrill,
Man Parrish,
Can,
The Seeds,
Pete Rock & C.L. Smooth,
Josef K,
Crime,
Morten Harket,
Quadrant,
Lonnie Liston Smith,
Sound Behaviour,
Reuben Wilson,
Dark Day,
Gian Franco Pienzio,
Quando Quango,
Super Lover Cee & Casanova Rud,
Technova,
Teenage Jesus and the Jerks,
DJ Style,
H. Thieme,
The Index,
The Last Poets,
The Selecter,
Loose Ends,
Lebanon Hanover,
Radiopuhelimet,
The Detroit Cobras,
Sex Pistols,
Urselle,
Patti Smith,
Lizzy Mercier Descloux,
John Cale,
Eddi Front,
Model 500,
Lou Reed,
The Cure,
Anakelly,
Gil Scott-Heron and Jamie xx,
CMW,
Sällskapet,
kango's stein massive,
Youth Brigade,
Tubeway Army,
Deadbeat,
Connie Case,
Leonard Cohen,
Terry Callier,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.