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 Palau and from Lagos.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school Winnipeg 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 Chic practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Black Sheep to the grime 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 Scion. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Fear 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 spring reverb 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 synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Mark Hollis,
Howard Jones,
Black Flag,
The Move,
The Walker Brothers,
Los Fastidios,
The Associates,
Desert Stars,
Ralphi Rosario,
Peter and Kerry,
The Sound,
Richard Hell and the Voidoids,
Gil Scott-Heron and Jamie xx,
Robert Görl,
Panda Bear,
The Shadows of Knight,
Fela Kuti,
The Cramps,
Hot Snakes,
Jeff Lynne,
Ohio Players,
UT,
Quando Quango,
Icehouse,
The Neon Judgement,
Harpers Bizarre,
Clear Light,
John Foxx,
Bush Tetras,
the Swans,
Duran Duran,
Terrestrial Tones,
B.T. Express,
Zapp,
Notorious Big And Bone Thugs,
Section 25,
Eden Ahbez,
Bronski Beat,
Chris Corsano,
The Real Kids,
Alphaville,
a-ha,
Sixth Finger,
Tomorrow,
Thompson Twins,
Aaron Thompson,
Angels of Light & Akron/Family,
Bad Manners,
Banda Bassotti,
London Community Gospel Choir,
The Wake,
Altered Images,
The Selecter,
Oppenheimer Analysis,
Barry Ungar,
Rhythim Is Rhythim,
The Slackers,
Jandek,
Animal Collective,
Infiniti,
Kayak,
Susan Cadogan,
Andrew Hill,
Mandrill, Mandrill, Mandrill, Mandrill.
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.