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 Bangladesh and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Mumbai.
I'm losing my edge to the art-school Manchester 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 1983 at the first Bronski Beat practice in a loft in Brixton.
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 Ornette Coleman to the dance kids.
I played it at the Crocodile.
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 Dorothy Ashby. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every New Order 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 '70s.
I hear you're buying a synthesizer 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 güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
X-Ray Spex,
Dave Gahan,
The Alarm Clocks,
Essential Logic,
Althea and Donna,
Kool G Rap & DJ Polo,
The Mummies,
Orchestral Manoeuvres in the Dark,
Bootsy's Rubber Band,
The United States of America,
FM Einheit,
F. McDonald,
Siouxsie and the Banshees,
Stockholm Monsters,
Average White Band,
Half Japanese,
MC5,
Sad Lovers and Giants,
The Sonics,
Banda Bassotti,
Groovy Waters,
Lonnie Liston Smith,
Ituana,
David Axelrod,
Roger Hodgson,
Donald Byrd,
Marc Romboy vs. Booka Shade,
Al Stewart,
June of 44,
Deadbeat,
Arcadia,
The Birthday Party,
Gang of Four,
Marvin Gaye,
Quando Quango,
Los Fastidios,
Index,
Drexciya,
The Slits,
Ornette Coleman,
Piero Umiliani,
Slick Rick,
Adolescents,
Pussy Galore,
Teenage Jesus and the Jerks,
Barclay James Harvest,
Gil Scott-Heron & Brian Jackson,
kango's stein massive,
Terror Squad Feat. Camron,
It's A Beautiful Day,
The Fall,
Alton Ellis,
Mandrill,
Fifty Foot Hose,
Masters at Work,
Scott Walker + Sunn O))),
Terrestrial Tones,
Popol Vuh,
Suicide,
Soft Cell,
Traffic Nightmare,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.