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 Bangladesh and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television 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 1973.
I'm losing my edge.
To all the kids in Halifax and Woodstock.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum 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 Duran Duran to the disco kids.
I played it at the Hacienda.
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 Nation of Ulysses. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum 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 oboe and bought an organ.
I hear that you and your band have sold your organ and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Grandmaster Flash and the Furious Five,
The Star Department,
The Associates,
Notorious Big And Bone Thugs,
Mars,
Drexciya,
Radiohead,
Marc Almond,
Reagan Youth,
Little Man,
Terry Callier,
Bang On A Can,
Rufus Thomas,
Yaz,
The Wake,
Eurythmics,
Scan 7,
Arab on Radar,
Big Daddy Kane,
Cal Tjader,
Goldenarms,
Roger Hodgson,
The Divine Comedy,
Camberwell Now,
Motorama,
Warren Ellis,
Cluster,
The Fortunes,
Oppenheimer Analysis,
Janne Schatter,
Kool Moe Dee,
Essential Logic,
The Fire Engines,
Kaleidoscope,
Technova,
Pantytec,
Lebanon Hanover,
Soft Machine,
The Dirtbombs,
Black Sheep,
Alice Coltrane,
Marcia Griffiths,
Chris & Cosey,
Mo-Dettes,
Nas,
A Certain Ratio,
Angry Samoans,
The Gun Club,
The Zeros,
Kango’s Stein Massive,
Angels of Light & Akron/Family,
Kerrie Biddell,
Second Layer,
The Count Five,
Pantaleimon,
The Peanut Butter Conspiracy,
the Human League,
Royal Trux,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.