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 Nauru and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Manchester 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 Selda practice in a loft in Istanbul.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Los Fastidios to the electroclash kids.
I played it at Cafe Wha.
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 Lucky Dragons. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Half Japanese 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer 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 spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
Rites of Spring,
Deepchord,
Camouflage,
Moss Icon,
Flipper,
Harmonia,
Harry Pussy,
Clear Light,
Kerri Chandler,
Spandau Ballet,
The Cramps,
Chris & Cosey,
The Vogues,
Gang of Four,
Peter and Kerry,
Second Layer,
Sarah Menescal,
Lou Christie,
Urselle,
Section 25,
Lucky Dragons,
10cc,
Monolake,
Chrome,
Donald Byrd,
The Wake,
Juan Atkins,
Public Enemy,
Sister Nancy,
Hot Snakes,
Pete Rock & C.L. Smooth,
the Swans,
Andrew Hill,
Excepter,
Gil Scott Heron,
The Evens,
Pole,
Kool G Rap & DJ Polo,
Sixth Finger,
Grandmaster Flash,
The Pretty Things,
The Stooges,
Bang on a Can All-Stars,
the Soft Cell,
Gil Scott-Heron and Jamie xx,
Theoretical Girls,
James Chance & The Contortions,
Maurizio,
ABBA,
Davy DMX,
The Star Department,
Goldenarms,
ABC,
Johnny Clarke,
Ohio Players,
The Music Machine,
Derrick Morgan,
Nick Fraelich,
Severed Heads,
John Foxx,
The Slits,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.