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 Singapore and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
I'm losing my edge to the art-school Hong Kong 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Sad Lovers and Giants to the rock kids.
I played it at the Roxy.
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 Moebius. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a guitar 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 an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Grauzone,
June Days,
Minnie Riperton,
Wire,
The Velvet Underground,
The Dead C,
The Music Machine,
The Knickerbockers,
Bluetip,
Chrome,
Anakelly,
Peter and Kerry,
Eve St. Jones,
Pere Ubu,
Moebius,
Laurel Aitken,
The Evens,
Beasts of Bourbon,
Sly & The Family Stone,
Rosa Yemen,
Alphaville,
Jeff Lynne,
Deutsch Amerikanische Freundschaft,
Negative Approach,
Mandrill,
Patti Smith,
Gang Green,
James Chance & The Contortions,
Derrick Morgan,
Franke,
Gerry Rafferty,
Robert Görl,
The Mummies,
Henry Cow,
The Monks,
Bad Manners,
Reagan Youth,
Sex Pistols,
Little Man,
Mary Jane Girls,
Jacob Miller,
DNA,
Gary Puckett & The Union Gap,
The Peanut Butter Conspiracy,
Marvin Gaye,
the Normal,
the Soft Cell,
Kauko Röyhkä ja Narttu,
The Saints,
Kerri Chandler,
Hasil Adkins,
Judy Mowatt,
Man Parrish,
Oppenheimer Analysis,
Lyres,
Tropical Tobacco,
Supertramp,
Excepter,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.