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 Tonga and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Lagos and New York.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the spring reverb 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 Camouflage to the dance 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 Buzzcocks. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Joyce Sims 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 '70s.
I hear you're buying a linndrum and a güiro 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
The Happenings,
Alice Coltrane,
Gian Franco Pienzio,
The Fortunes,
Swell Maps,
Kings Of Tomorrow,
Althea and Donna,
Toni Rubio,
Deadbeat,
Pharaoh Sanders and the Fire Engines,
Moss Icon,
Nik Kershaw,
Harmonia,
Minor Threat,
The Men They Couldn't Hang,
cv313,
It's A Beautiful Day,
Warsaw,
Sugar Minott,
Suburban Knight,
Motorama,
Bush Tetras,
Anakelly,
The Dave Clark Five,
Don Cherry,
Larry & the Blue Notes,
Pole,
Agitation Free,
N.O.R.E. Featuring Pharrell,
Blossom Toes,
Gregory Isaacs,
Jawbox,
Joe Finger,
Ornette Coleman,
Avey Tare's Slasher Flicks,
The Mojo Men,
Blake Baxter,
Ultravox,
Jeff Mills,
Joey Negro,
Moby Grape,
Soul II Soul,
Rufus Thomas,
Barclay James Harvest,
Ralphi Rosario,
Talk Talk,
Neil Young,
Slick Rick,
Rhythim Is Rhythim,
the Swans,
Art Ensemble Of Chicago,
EPMD,
Matthew Halsall,
Jandek,
Radio Birdman,
the Bar-Kays,
Spandau Ballet,
Tom Boy,
Shoche,
Donny Hathaway,
Von Mondo,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.