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 South Sudan and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1973.
I'm losing my edge.
To all the kids in New York and Calgary.
I'm losing my edge to the art-school Houston 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 1980 at the first Cybotron practice in a loft in Detroit.
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 Louis and Bebe Barron to the funk 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 Colin Newman. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal funk 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 linndrum 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 güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
The Buckinghams,
Cal Tjader,
Sixth Finger,
Soft Cell,
Organ,
Don Cherry,
Aaron Thompson,
the Sonics,
Al Stewart,
Ludus,
The Sisters of Mercy,
Sun Ra Arkestra,
Gian Franco Pienzio,
Todd Rundgren,
Soft Machine,
The Mojo Men,
Darondo,
Spandau Ballet,
The Five Americans,
Wolf Eyes,
Bill Near,
Scrapy,
Neil Young & Crazy Horse,
Notorious Big And Bone Thugs,
Skaos,
Essential Logic,
Chrome,
Cecil Taylor,
Yaz,
Neu!,
Joe Finger,
H. Thieme,
Deutsch Amerikanische Freundschaft,
Das Ding,
Strawberry Alarm Clock,
Fugazi,
Eddi Front,
John Lydon,
Boogie Down Productions,
the Bar-Kays,
Rekid,
Amon Düül II,
London Community Gospel Choir,
Lou Reed & Metallica,
The Wake,
DJ Sneak,
The Blues Magoos,
The Cowsills,
Arcadia,
Bootsy's Rubber Band,
The Detroit Cobras,
Magma,
Gil Scott-Heron and Jamie xx,
D'Angelo,
Danielle Patucci,
Fear,
Stereo Dub,
The Searchers,
Sexual Harrassment,
Brass Construction,
Liaisons Dangereuses,
Pole, Pole, Pole, Pole.
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.