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 Cambodia and from Hong Kong.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Stereo Dub to the dance 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 Sun City Girls. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron 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 linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Japan,
Babytalk,
James White and The Blacks,
David Bowie,
Cal Tjader,
Average White Band,
Bobby Sherman,
Smog,
The Doors,
Lou Reed & John Cale,
Au Pairs,
Motorama,
The Red Krayola,
Minutemen,
T.S.O.L.,
Animal Collective,
Bluetip,
Pantytec,
Das Ding,
Technova,
Eli Mardock,
Bronski Beat,
Electric Prunes,
Sarah Menescal,
Gabor Szabo,
Bobby Byrd,
The Buckinghams,
Brand Nubian,
La Düsseldorf,
Slick Rick,
Peter & Gordon,
The Monochrome Set,
The Gladiators,
Fatback Band,
Carl Craig,
Angry Samoans,
Cameo,
Connie Case,
John Cale,
8 Eyed Spy,
Grandmaster Flash,
June Days,
The Fire Engines,
MC5,
Alice Coltrane,
the Soft Cell,
the Swans,
Funkadelic,
Skaos,
Max Romeo,
Lou Reed & Metallica,
Swans,
Easy Going,
Traffic Nightmare,
Notorious Big And Bone Thugs,
Gang Starr,
Soul II Soul,
Ituana,
Pagans,
Ice-T,
Infiniti,
Susan Cadogan,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.