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 Paraguay and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Manila and Paris.
I'm losing my edge to the art-school Manila 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin 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 Visage to the electroclash 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 DJ Sneak. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe 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 arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Bootsy Collins,
Spoonie Gee,
Interpol,
Bill Near,
Panda Bear,
Rosa Yemen,
Oppenheimer Analysis,
The Doors,
Roxette,
ABBA,
Oblivians,
Heaven 17,
Cal Tjader,
Stockholm Monsters,
The Black Dice,
Teenage Jesus and the Jerks,
Neil Young & Crazy Horse,
Whodini,
Roy Ayers,
The Wake,
Peter Gordon & Love of Life Orchestra,
London Community Gospel Choir,
The Mummies,
Desert Stars,
The American Breed,
Peter and Kerry,
Nas,
Pharoah Sanders,
Eve St. Jones,
Fatback Band,
Stereo Dub,
Grauzone,
Smog,
Avey Tare's Slasher Flicks,
Minutemen,
The Evens,
Gian Franco Pienzio,
Faust,
Jacob Miller,
Bobby Hutcherson,
Jesper Dahlbäck,
Malaria!,
K-Klass,
Flamin' Groovies,
Nick Cave & The Bad Seeds,
Dorothy Ashby,
Schoolly D,
the Association,
Fear,
Kurtis Blow,
Country Teasers,
U.S. Maple,
Gregory Isaacs,
Throbbing Gristle,
Wings,
The Electric Prunes,
Kool Moe Dee,
The Fire Engines,
Beasts of Bourbon,
The Monks,
Echospace,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.