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 Beijing.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Beijing.
I'm losing my edge to the art-school Taipei 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 Buzzcocks practice in a loft in Bolton.
I was working on the synthesizer 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 The Raincoats to the electroclash kids.
I played it at the 40 Watt.
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 The Electric Prunes. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal funk 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 sitar 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 synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
Minny Pops,
Bob Dylan,
Byron Stingily,
Blake Baxter,
Young Marble Giants,
Lakeside,
X-101,
Whodini,
Throbbing Gristle,
John Holt,
Sparks,
Bill Near,
The Golliwogs,
Letta Mbulu,
the Association,
Slick Rick,
The Gun Club,
The Doobie Brothers,
The Young Rascals,
Spandau Ballet,
The Slits,
Tears for Fears,
Cal Tjader,
Warren Ellis,
Ornette Coleman,
Qualms,
Ronan,
Pagans,
48th St. Collective,
Audionom,
New Age Steppers,
Gregory Isaacs,
Niagra,
Pantaleimon,
Rufus Thomas,
The Motions,
Marshall Jefferson,
Visionaries,LMNO, T- Love & Iriscience,
Echo & the Bunnymen,
Gil Scott Heron,
Basic Channel,
Swans,
Bobby Sherman,
Suburban Knight,
Barry Ungar,
Spoonie Gee,
Cameo,
Angry Samoans,
Yusef Lateef,
Rhythm & Sound,
Section 25,
The Martian,
Dual Sessions,
Ralphi Rosario,
Kool Moe Dee,
Nick Fraelich,
Wasted Youth,
Parry Music,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.