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 Dominican Republic and from Delhi.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Columbus.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 MDC to the grime kids.
I played it at Trash.
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 Babytalk. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a L. Decosne record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Boredoms,
Bad Manners,
The West Coast Pop Art Experimental Band,
Interpol,
UT,
Pantaleimon,
Smog,
Brothers Johnson,
June Days,
The Victims,
Kaleidoscope,
Swell Maps,
Livin' Joy,
Basic Channel,
Motorama,
DeepChord presents Echospace,
Electric Light Orchestra,
Outsiders,
The Leaves,
Von Mondo,
Peter and Kerry,
Banda Bassotti,
Arab on Radar,
Black Bananas,
Parry Music,
Sonic Youth,
Alison Limerick,
Talk Talk,
June of 44,
Fear,
Ituana,
Super Lover Cee & Casanova Rud,
Negative Approach,
48th St. Collective,
Con Funk Shun,
Michelle Simonal,
Maurizio,
Warren Ellis,
Avey Tare & Kría Brekkan,
Robert Hood,
OOIOO,
Lou Reed & John Cale,
The Five Americans,
Rhythim Is Rhythim,
The Fuzztones,
Stiv Bators,
Average White Band,
Eve St. Jones,
Erykah Badu,
Cymande,
Beasts of Bourbon,
the Soft Cell,
Scan 7,
Al Stewart,
Morten Harket,
Yusef Lateef,
ABBA,
Liliput,
The Cowsills,
Reagan Youth,
Connie Case,
the Bar-Kays,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.