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 Kenya and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1971.
I'm losing my edge.
To all the kids in Toronto and Manila.
I'm losing my edge to the art-school Portland 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 at the first Suicide 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 Minor Threat to the funk kids.
I played it at the Spitz.
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 Lower 48. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a harpsichord 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 marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Das Ding,
Connie Case,
Shoche,
Donny Hathaway,
Drexciya,
the Fania All-Stars,
Tres Demented,
Tom Boy,
Lee Hazlewood,
Harry Pussy,
The Fuzztones,
The Litter,
Masters at Work,
Blancmange,
Be Bop Deluxe,
UT,
New Age Steppers,
kango's stein massive,
Ultravox,
The Dead C,
The Count Five,
Soulsonic Force,
The Gun Club,
Funkadelic,
Jacob Miller,
Electric Light Orchestra,
The Cowsills,
Soul II Soul,
The Modern Lovers,
Rhythim Is Rhythim,
H. Thieme,
Ronan,
The Misunderstood,
Throbbing Gristle,
Tubeway Army,
Liaisons Dangereuses,
Robert Hood,
Warsaw,
Bobby Byrd,
Sight & Sound,
Section 25,
Funky Four + One,
A Certain Ratio,
The Dirtbombs,
The Five Americans,
Lonnie Liston Smith,
The Sound,
Angels of Light & Akron/Family,
Arab on Radar,
Country Teasers,
The Toasters,
The Moleskins,
Archie Shepp,
Peter & Gordon,
Wighnomy Brothers & Robag Wruhme,
Maleditus Sound,
Pet Shop Boys,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.