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 Bahamas and from Lagos.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Beijing 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the spring reverb 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 Scratch Acid to the disco kids.
I played it at the Spitz.
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 Buzzcocks. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every The Mojo Men 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar 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 synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Electric Prunes,
Jesper Dahlbäck,
Accadde A,
Pulsallama,
Erykah Badu,
Pere Ubu,
The Last Poets,
The Dead C,
Underground Resistance,
Rhythim Is Rhythim,
Scan 7,
The Raincoats,
The Saints,
Electric Light Orchestra,
Eric Dolphy,
Angels of Light & Akron/Family,
Sarah Menescal,
Graham Central Station,
Half Japanese,
Sly & The Family Stone,
Fad Gadget,
Thinking Fellers Union Local 282,
T.S.O.L.,
Manfred Mann's Earth Band,
Skriet,
Intrusion,
Funkadelic,
Index,
Scott Walker,
The Doobie Brothers,
The Walker Brothers,
Kas Product,
The Cramps,
Louis and Bebe Barron,
Kings Of Tomorrow,
This Heat,
Gil Scott-Heron & Brian Jackson,
Alice Coltrane,
Iggy Pop,
Erasure,
Aswad,
Big Daddy Kane,
Lou Christie,
The Human League,
Don Cherry,
Maurizio,
X-Ray Spex,
Steve Hackett,
Loose Ends,
the Association,
Cybotron,
the Swans,
Maleditus Sound,
Oppenheimer Analysis,
Juan Atkins,
Ohio Players,
Eli Mardock,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.