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 Kosovo and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1978.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Toronto 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 1978 at the first Visage practice in a loft in London.
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 Barbara Tucker to the rock kids.
I played it at the 40 Watt.
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 8 Eyed Spy. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba 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 snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
X-102,
The Music Machine,
Deakin,
Tropical Tobacco,
Deadbeat,
Lizzy Mercier Descloux,
AZ,
Jeru the Damaja,
Minnie Riperton,
It's A Beautiful Day,
The Fuzztones,
Ohio Players,
Orchestral Manoeuvres in the Dark,
the Normal,
Agent Orange,
Fluxion,
Cal Tjader,
Grandmaster Flash and the Furious Five,
Gregory Isaacs,
New Age Steppers,
Yazoo,
The Neon Judgement,
The Mummies,
Leonard Cohen,
Jesper Dahlbäck,
Cecil Taylor,
The Buckinghams,
Alice Coltrane,
Gerry Rafferty,
Soul II Soul,
Connie Case,
Babytalk,
James Chance & The Contortions,
Gil Scott-Heron & Brian Jackson,
The Fire Engines,
Man Eating Sloth,
Eric Copeland,
The Alarm Clocks,
The Evens,
Steve Hackett,
Motorama,
Art Ensemble Of Chicago,
Oblivians,
Jacques Brel,
the Association,
Notorious Big And Bone Thugs,
Josef K,
Niagra,
Black Moon,
Funky Four + One,
Sam Rivers,
The Gun Club,
Ronnie Foster,
The Cosmic Jokers,
Slave,
London Community Gospel Choir,
Nils Olav,
Althea and Donna,
Matthew Halsall,
Avey Tare & Kría Brekkan,
MDC,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.