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 Botswana and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Manila and Tehran.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Terrestrial Tones to the grunge kids.
I played it at the Astoria.
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 Cure. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Morten Harket 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a snare 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 a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Japan,
James Chance & The Contortions,
Circle Jerks,
Scott Walker,
Althea and Donna,
The Buckinghams,
Stereo Dub,
The Sound,
Black Bananas,
Television Personalities,
Gary Puckett & The Union Gap,
Crooked Eye,
John Foxx,
Lungfish,
Roger Hodgson,
Half Japanese,
Super Lover Cee & Casanova Rud,
Saccharine Trust,
Sixth Finger,
The Pop Group,
Spandau Ballet,
Leonard Cohen,
Ossler,
Rowland S Howard / Lydia Lunch,
Juan Atkins,
Gabor Szabo,
Model 500,
Joe Finger,
Todd Rundgren,
Bill Wells,
The Last Poets,
Sun City Girls,
the Association,
Slick Rick,
Avey Tare & Kría Brekkan,
Captain Beefheart & His Magic Band,
Quando Quango,
Make Up,
Sällskapet,
Carl Craig,
FM Einheit,
The Wake,
Steve Hackett,
the Sonics,
Gian Franco Pienzio,
The Offenders,
Black Flag,
Art Ensemble Of Chicago,
Depeche Mode,
Selector Dub Narcotic,
Sugar Minott,
Rites of Spring,
Icehouse,
Marc Almond,
The Fall,
The Litter,
Niagra,
Orchestral Manoeuvres in the Dark,
Dorothy Ashby,
Scientists,
the Soft Cell,
Jacob Miller,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.