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 Congo and from Tehran.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Roxette to the rock kids.
I played it at the Roxy.
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 Big Daddy Kane. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and a clarinet 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 spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
Major Organ And The Adding Machine,
Lakeside,
Pantytec,
The Count Five,
Suburban Knight,
Barbara Tucker,
kango's stein massive,
Masters at Work,
The Victims,
cv313,
Rowland S Howard / Lydia Lunch,
Freddie Wadling,
The Saints,
The Grass Roots,
Ultramagnetic MC's,
Von Mondo,
JFA,
Pylon,
Bootsy Collins,
The Shadows of Knight,
The Neon Judgement,
Banda Bassotti,
Lungfish,
John Cale,
Urselle,
Laurel Aitken,
Loose Ends,
Ituana,
Quando Quango,
Ohio Players,
Rapeman,
La Düsseldorf,
Ronnie Foster,
Gabor Szabo,
World's Most,
Connie Case,
The Cramps,
Godley & Creme,
Quantec,
the Normal,
The Vogues,
Nils Olav,
Jerry Gold Smith,
Eyeless In Gaza,
Trumans Water,
Gil Scott-Heron & Brian Jackson,
Robert Görl,
Aaron Thompson,
Maurizio,
Ten City,
Lebanon Hanover,
Mo-Dettes,
Traffic Nightmare,
Groovy Waters,
Circle Jerks,
Suicide,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.