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 Nauru and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1968 to 1974.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school Edmonton 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 1973 at the first Television practice in a loft in New York.
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 Robert Wyatt to the funk kids.
I played it at the 40 Watt.
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 Second Layer. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a synthesizer 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 guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
The Associates,
Strawberry Alarm Clock,
The Blackbyrds,
Soul Sonic Force,
Neu!,
Gong,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tropical Tobacco,
Roy Ayers,
Jerry's Kids,
Country Teasers,
Unwound,
The Monks,
Urselle,
The Index,
Johnny Clarke,
Susan Cadogan,
Hashim,
Funkadelic,
Half Japanese,
Derrick Morgan,
Bush Tetras,
Robert Wyatt,
Reagan Youth,
Be Bop Deluxe,
Beasts of Bourbon,
Leonard Cohen,
Main Source,
Gichy Dan,
kango's stein massive,
Sixth Finger,
The Divine Comedy,
The Mighty Diamonds,
Kaleidoscope,
Matthew Bourne,
Byron Stingily,
Alice Coltrane,
Chris Corsano,
The Smiths,
Ash Ra Tempel,
Q65,
Bronski Beat,
MDC,
The Slits,
The Pretty Things,
Pulsallama,
John Holt,
Drexciya,
Eyeless In Gaza,
T.S.O.L.,
The Dirtbombs,
Dorothy Ashby,
The Detroit Cobras,
Pantytec,
Lizzy Mercier Descloux,
Pharaoh Sanders and the Fire Engines,
The Residents,
Pere Ubu,
The Fortunes,
The Victims,
Stereo Dub,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.