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 Equatorial Guinea and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Houston 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 Lewis practice in a loft in Vancouver.
I was working on the rhodes 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 Sugar Minott to the rock kids.
I played it at Trash.
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 Black Dice. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal punk 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 808 and an arpeggiator 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
The Doors,
The Standells,
Cybotron,
The Associates,
Swell Maps,
The Searchers,
Newcleus,
48th St. Collective,
The Modern Lovers,
The Raincoats,
Davy DMX,
Ultravox,
Symarip,
Jeff Mills,
Be Bop Deluxe,
The Music Machine,
Althea and Donna,
The Misunderstood,
Gang of Four,
Delta 5,
Suburban Knight,
Underground Resistance,
Liliput,
Visionaries,LMNO, T- Love & Iriscience,
Kenny Larkin,
Rhythim Is Rhythim,
X-102,
Mark Hollis,
Notorious Big And Bone Thugs,
Icehouse,
Terrestrial Tones,
Cluster,
Wighnomy Brothers & Robag Wruhme,
Pagans,
Delon & Dalcan,
The Star Department,
Albert Ayler,
Trumans Water,
Bootsy Collins,
Gil Scott-Heron & Brian Jackson,
Man Eating Sloth,
Darondo,
The Count Five,
the Bar-Kays,
Von Mondo,
Sparks,
The Shadows of Knight,
Country Joe & The Fish,
The Monks,
A Flock of Seagulls,
UT,
Ituana,
The Golliwogs,
Carl Craig,
Tim Buckley,
Roy Ayers,
Warsaw,
Sad Lovers and Giants,
The Blues Magoos,
Skarface, Skarface, Skarface, Skarface.
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.