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 Africa and from Jakarta.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Columbus and Lille.
I'm losing my edge to the art-school Mexico City 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Pete Rock & C.L. Smooth 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 Chris Corsano. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every The Barracudas record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes 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 mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Crime,
Altered Images,
Anthony Braxton,
The Velvet Underground,
Public Image Ltd.,
Sly & The Family Stone,
Ultramagnetic MC's,
Scan 7,
EPMD,
Bootsy Collins,
Kango’s Stein Massive,
Rod Modell,
Robert Wyatt,
Kool G Rap & DJ Polo,
Little Man,
Frankie Knuckles,
The Modern Lovers,
Babytalk,
Lafayette Afro Rock Band,
Jimmy McGriff,
Glambeats Corp.,
Rhythm & Sound,
Faraquet,
Bizarre Inc.,
Ash Ra Tempel,
Unwound,
Cheater Slicks,
Scientists,
L. Decosne,
The West Coast Pop Art Experimental Band,
The Fall,
Selector Dub Narcotic,
Marc Romboy vs. Booka Shade,
Joyce Sims,
Cal Tjader,
Rakim,
Charles Mingus,
Dave Gahan,
Depeche Mode,
Hashim,
Sarah Menescal,
Nick Fraelich,
X-102,
Radiopuhelimet,
Lungfish,
Aswad,
Mo-Dettes,
Sexual Harrassment,
The United States of America,
The Zeros,
Judy Mowatt,
Funkadelic,
Susan Cadogan,
The Dirtbombs,
Roy Ayers Ubiquity,
Circle Jerks,
Theoretical Girls,
Nico,
Dennis Brown,
the Fania All-Stars,
Louis and Bebe Barron,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.