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 Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Hong Kong.
I'm losing my edge to the art-school Shanghai 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 oboe 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 Barry Ungar to the rap kids.
I played it at the Spitz.
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 Easy Going. All the underground hits.
All Eddi Front tracks. I heard you have a vinyl of every Charles Mingus 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro 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 rhodes.
I hear that you and your band have sold your rhodes 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 Standells,
Larry & the Blue Notes,
The Kinks,
Boogie Down Productions,
Minutemen,
Sam Rivers,
Frankie Knuckles,
Icehouse,
June Days,
Model 500,
Scion,
Joe Smooth,
Jimmy McGriff,
The Shadows of Knight,
Suburban Knight,
Roger Hodgson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alison Limerick,
Richard Hell and the Voidoids,
Masters at Work,
Skaos,
The Monks,
The Knickerbockers,
Ronan,
Wire,
Tommy Roe,
Lalo Schifrin,
Electric Light Orchestra,
Buzzcocks,
Tropical Tobacco,
Byron Stingily,
Bill Wells,
Eurythmics,
The Gories,
Pet Shop Boys,
Peter and Kerry,
Steve Hackett,
John Coltrane,
Archie Shepp,
Art Ensemble Of Chicago,
Marc Romboy vs. Booka Shade,
Mandrill,
UT,
The Fortunes,
CMW,
Eric Dolphy,
The United States of America,
Rowland S Howard / Lydia Lunch,
X-Ray Spex,
Man Eating Sloth,
Minny Pops,
Amon Düül,
The Wake,
Andrew Ashong & Theo Parrish,
Bluetip,
Drive Like Jehu,
David Axelrod,
Robert Görl,
Nation of Ulysses,
Janne Schatter,
Pete Rock & C.L. Smooth,
Erasure,
The Dirtbombs,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.