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 Seychelles and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1973.
I'm losing my edge.
To all the kids in Manila and Lyon.
I'm losing my edge to the art-school Houston 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 West Coast Pop Art Experimental Band to the dance 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 Hashim. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron 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 spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
Loose Ends,
Skaos,
Gang of Four,
The Remains,
Ronan,
Kerrie Biddell,
The Zeros,
Eric Copeland,
Japan,
Pantaleimon,
8 Eyed Spy,
DeepChord presents Echospace,
Strawberry Alarm Clock,
Jacques Brel,
Tears for Fears,
Fugazi,
Motorama,
This Heat,
The Trojans,
Lou Reed & Metallica,
Vladislav Delay,
Jerry's Kids,
The Real Kids,
Morten Harket,
Skriet,
Mary Jane Girls,
Spandau Ballet,
Beasts of Bourbon,
kango's stein massive,
Red Lorry Yellow Lorry,
The Golliwogs,
Minnie Riperton,
Lower 48,
Black Bananas,
Vaughan Mason & Crew,
the Human League,
New York Dolls,
Alison Limerick,
Tim Buckley,
The Count Five,
Mandrill,
Smog,
David Bowie,
Warsaw,
Inner City,
New Order,
The Doors,
Rites of Spring,
The Pretty Things,
Janne Schatter,
Black Moon,
Chris Corsano,
Jawbox,
Q and Not U,
Shuggie Otis,
Sex Pistols,
Drive Like Jehu,
Freddie Wadling,
The Kinks,
X-Ray Spex,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.