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 Chile and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Sao Paulo.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Nick Fraelich to the rap 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 Camron Feat. Jay Z And Juelz. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar 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 synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Smog,
the Germs,
Gil Scott Heron,
Barbara Tucker,
Masters at Work,
Neil Young & Crazy Horse,
Can,
The Motions,
kango's stein massive,
F. McDonald,
the Normal,
Tim Buckley,
Pierre Henry,
Man Parrish,
Zapp,
Cal Tjader,
Swans,
The Velvet Underground,
Livin' Joy,
Suicide,
The Blues Magoos,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Knickerbockers,
Lou Christie,
Tomorrow,
Scrapy,
Duran Duran,
Michelle Simonal,
Lebanon Hanover,
June of 44,
The Fugs,
Pere Ubu,
Joey Negro,
Shuggie Otis,
The West Coast Pop Art Experimental Band,
Los Fastidios,
Mark Hollis,
Cheater Slicks,
Dual Sessions,
Quantec,
Yusef Lateef,
U.S. Maple,
Mo-Dettes,
Das Ding,
JFA,
Black Pus,
Slick Rick,
Pete Rock & C.L. Smooth,
Flipper,
Wire,
L. Decosne,
The Raincoats,
Simply Red,
Popol Vuh,
Gang Starr,
Crash Course in Science,
Matthew Halsall,
It's A Beautiful Day,
Chris & Cosey,
Radiopuhelimet,
The Cure,
Peter Gordon & Love of Life Orchestra,
Sun City Girls,
Fluxion, Fluxion, Fluxion, Fluxion.
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.