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 Denmark and from Accra.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Edmonton.
I'm losing my edge to the art-school Accra 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 Can practice in a loft in Cologne.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Joy Division to the grime kids.
I played it at the 40 Watt.
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 Joe Finger. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '70s.
I hear you're buying a rhodes and a marimba 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 sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
In Retrospect,
Half Japanese,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fire Engines,
Kauko Röyhkä ja Narttu,
Rotary Connection,
Eurythmics,
John Lydon,
Funkadelic,
Johnny Osbourne,
Underground Resistance,
Rahsaan Roland Kirk,
Dual Sessions,
Agitation Free,
Rod Modell,
Major Organ And The Adding Machine,
Robert Wyatt,
Lower 48,
Crooked Eye,
Gichy Dan,
This Heat,
Q and Not U,
Jesper Dahlback,
Howard Jones,
Kerrie Biddell,
Derrick May,
The Moleskins,
Beasts of Bourbon,
The Toasters,
Joyce Sims,
Echo & the Bunnymen,
Moss Icon,
The Velvet Underground,
Matthew Halsall,
Barry Ungar,
Althea and Donna,
Kurtis Blow,
Joensuu 1685,
Radiopuhelimet,
R.M.O.,
Camberwell Now,
Sonny Sharrock,
Barclay James Harvest,
Pere Ubu,
the Normal,
Second Layer,
Rowland S Howard / Lydia Lunch,
The American Breed,
Public Enemy,
Minnie Riperton,
X-101,
kango's stein massive,
Blancmange,
Arcadia,
Mars,
The Dirtbombs,
Morten Harket,
Jacques Brel,
The Seeds,
Kings Of Tomorrow,
The Cure,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.