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 Zimbabwe 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 1965 to 1971.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Matthew Bourne to the disco kids.
I played it at CBGB's.
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 Bobby Hutcherson. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a theremin 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 a chamberlin.
I hear that you and your band have sold your chamberlin 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?
The Star Department,
Crooked Eye,
Avey Tare's Slasher Flicks,
Sex Pistols,
Anthony Braxton,
Yaz,
Alice Coltrane,
Johnny Osbourne,
Crash Course in Science,
Lucky Dragons,
Eurythmics,
Dawn Penn,
DJ Style,
The Durutti Column,
John Cale,
Faust,
Crispian St. Peters,
The Searchers,
The Fall,
Echospace,
X-102,
The Buckinghams,
Visage,
Marvin Gaye,
Sugar Minott,
Wally Richardson,
Eyeless In Gaza,
Blancmange,
Sparks,
AZ,
Mo-Dettes,
Fluxion,
Bill Near,
Teenage Jesus and the Jerks,
Rapeman,
Jimmy McGriff,
Janne Schatter,
Mission of Burma,
Eden Ahbez,
Steve Hackett,
the Normal,
Average White Band,
the Association,
Liaisons Dangereuses,
David Bowie,
Flamin' Groovies,
Heavy D & The Boyz,
Gary Puckett & The Union Gap,
Ituana,
Warsaw,
Michelle Simonal,
Carl Craig,
Unwound,
Arcadia,
Can,
Vaughan Mason & Crew,
Pharaoh Sanders and the Fire Engines,
Khruangbin,
Tubeway Army,
The Litter,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.