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 Iran and from Beijing.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Sao Paulo and Copenhagen.
I'm losing my edge to the art-school Delhi 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb 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 Piero Umiliani to the techno 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 Bootsy's Rubber Band. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar 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 spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Byron Stingily,
Stiv Bators,
Niagra,
the Human League,
Q and Not U,
Underground Resistance,
The Birthday Party,
New Age Steppers,
The Alarm Clocks,
Beasts of Bourbon,
Rufus Thomas,
Sly & The Family Stone,
Fad Gadget,
Nas,
Quantec,
Archie Shepp,
Slave,
Circle Jerks,
Eden Ahbez,
DJ Style,
Piero Umiliani,
Robert Görl,
Kevin Saunderson,
Newcleus,
Pagans,
Radio Birdman,
The Monochrome Set,
New York Dolls,
Rhythim Is Rhythim,
8 Eyed Spy,
The Five Americans,
Von Mondo,
The Searchers,
The Neon Judgement,
Sun Ra Arkestra,
Tropical Tobacco,
Gastr Del Sol,
Hoover,
Lakeside,
The Dirtbombs,
Slick Rick,
The Toasters,
Reuben Wilson,
Massinfluence,
Patti Smith,
Glambeats Corp.,
Hashim,
Fear,
Judy Mowatt,
The United States of America,
Pharaoh Sanders and the Fire Engines,
Minny Pops,
The Slackers,
Heaven 17,
Bootsy's Rubber Band,
Rosa Yemen,
Röyhkä ja Rättö ja Lehtisalo,
Pete Rock & C.L. Smooth,
Pharoah Sanders,
Deakin, Deakin, Deakin, Deakin.
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.