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 Zimbabwe and from Tokyo.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Delhi and Accra.
I'm losing my edge to the art-school Stockholm 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 The Jesus and Mary Chain to the electroclash kids.
I played it at the Astoria.
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 Faust. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar 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 sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Jerry Gold Smith,
Basic Channel,
Jeff Mills,
The Cosmic Jokers,
The Seeds,
Excepter,
Sarah Menescal,
Kayak,
Stetsasonic,
Bobby Byrd,
Matthew Bourne,
The Mojo Men,
Ultra Naté,
Sunsets and Hearts,
Dorothy Ashby,
The Wake,
Accadde A,
Gabor Szabo,
Spoonie Gee,
Henry Cow,
John Foxx,
Inner City,
Jacob Miller,
Young Marble Giants,
The Dead C,
New York Dolls,
Visionaries,LMNO, T- Love & Iriscience,
Althea and Donna,
Model 500,
Silicon Teens,
Alice Coltrane,
Justin Hinds & The Dominoes,
Aaron Thompson,
Lakeside,
Angry Samoans,
Crooked Eye,
Hasil Adkins,
Shuggie Otis,
Anakelly,
The Pretty Things,
Banda Bassotti,
Bill Near,
The United States of America,
Skriet,
Scan 7,
T. Rex,
Marshall Jefferson,
Mark Hollis,
Pagans,
Technova,
Andrew Hill,
Röyhkä ja Rättö ja Lehtisalo,
Godley & Creme,
Tubeway Army,
Ludus,
Radio Birdman,
The Monks,
Sad Lovers and Giants,
Skaos,
Ultravox,
Eric Copeland,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.