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 Grenada and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Bremen.
I'm losing my edge to the art-school London 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Ultramagnetic MC's to the disco kids.
I played it at CBGB's.
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 John Foxx. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Manfred Mann's Earth Band 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb 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 chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
The Remains,
MC5,
David Axelrod,
Aural Exciters,
Susan Cadogan,
The Selecter,
Flash Fearless,
Pylon,
Cabaret Voltaire,
Girls At Our Best!,
Ten City,
Steve Hackett,
Outsiders,
Cal Tjader,
Sam Rivers,
Sun City Girls,
Röyhkä ja Rättö ja Lehtisalo,
Joey Negro,
Newcleus,
Surgeon,
L. Decosne,
Scan 7,
Faust,
Judy Mowatt,
Lebanon Hanover,
Sun Ra,
Supertramp,
June Days,
Ken Boothe,
Ultra Naté,
In Retrospect,
Mandrill,
Ponytail,
Siglo XX,
Henry Cow,
Eve St. Jones,
Livin' Joy,
Todd Terry,
K-Klass,
E-Dancer,
Lonnie Liston Smith,
Gichy Dan,
Harpers Bizarre,
Lafayette Afro Rock Band,
Junior Murvin,
Matthew Bourne,
Siouxsie and the Banshees,
Alton Ellis,
Silicon Teens,
Visage,
Bill Near,
Soft Cell,
Marshall Jefferson,
the Swans,
The Wake,
Bill Wells,
La Düsseldorf,
Eric Copeland,
The Doors, The Doors, The Doors, The Doors.
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.