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 Guyana and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Brand Nubian to the dance kids.
I played it at the Crocodile.
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 Eric Dolphy. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin 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 chamberlin.
I hear that you and your band have sold your chamberlin 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?
Frankie Knuckles,
Audionom,
Throbbing Gristle,
Bush Tetras,
Black Moon,
Hoover,
Letta Mbulu,
Echo & the Bunnymen,
The Music Machine,
Theoretical Girls,
Masters at Work,
The Leaves,
Depeche Mode,
Carl Craig,
Bootsy Collins,
Banda Bassotti,
Stiv Bators,
The Blues Magoos,
Tears for Fears,
Isaac Hayes,
The Beau Brummels,
Lucky Dragons,
Warren Ellis,
Duran Duran,
Soulsonic Force,
Q and Not U,
Jawbox,
Notorious BIG live in Amsterdam,
Lizzy Mercier Descloux,
Intrusion,
New Order,
Gastr Del Sol,
Marcia Griffiths,
The Human League,
Sandy B,
Japan,
Graham Central Station,
Rhythim Is Rhythim,
Gian Franco Pienzio,
Justin Hinds & The Dominoes,
DeepChord presents Echospace,
Susan Cadogan,
Ponytail,
Buzzcocks,
Notorious Big And Bone Thugs,
Peter and Kerry,
Chris Corsano,
Johnny Osbourne,
Danielle Patucci,
Lou Christie,
ABC,
Soul Sonic Force,
Kool G Rap & DJ Polo,
Second Layer,
Todd Terry,
Boredoms,
Essential Logic,
The Cowsills,
Freddie Wadling,
Gil Scott-Heron & Brian Jackson,
The Litter,
Basic Channel,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.