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 Gambia and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Manila and Tehran.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 Mission of Burma to the punk 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 DNA. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a spring reverb 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?
Leonard Cohen,
The Red Krayola,
Jimmy McGriff,
Sandy B,
Von Mondo,
Sonny Sharrock,
The Martian,
Bobby Sherman,
Babytalk,
Circle Jerks,
Richard Hell and the Voidoids,
Icehouse,
Peter Gordon & Love of Life Orchestra,
Absolute Body Control,
Derrick Morgan,
The New Christs,
Hoover,
Tears for Fears,
David Axelrod,
the Bar-Kays,
Jesper Dahlbäck,
David McCallum,
Robert Hood,
Gang Green,
The Tremeloes,
Lizzy Mercier Descloux,
Ituana,
Spoonie Gee,
Todd Terry,
Donny Hathaway,
Roger Hodgson,
The Offenders,
Reagan Youth,
Lou Reed & Metallica,
F. McDonald,
Ultramagnetic MC's,
The Velvet Underground,
Joensuu 1685,
Intrusion,
Masters at Work,
Nick Fraelich,
ABC,
Kaleidoscope,
The Men They Couldn't Hang,
Cabaret Voltaire,
Faust,
Metal Thangz,
Wolf Eyes,
The Wake,
World's Most,
Eurythmics,
Lalo Schifrin,
Thee Headcoats,
Half Japanese,
Ultra Naté,
Khruangbin,
The Motions,
Dead Boys,
X-102,
Art Ensemble Of Chicago,
Camouflage,
X-Ray Spex,
Eddi Front,
Ultravox, Ultravox, Ultravox, Ultravox.
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.