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 Ivory Coast and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Toronto and Bologna.
I'm losing my edge to the art-school Toronto 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Neil Young to the rock kids.
I played it at Trash.
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 U.S. Maple. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every The Misunderstood 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum 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 harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
James Chance & The Contortions,
Audionom,
The J.B.'s,
Beasts of Bourbon,
Brass Construction,
Skriet,
Ronnie Foster,
Index,
Model 500,
Black Flag,
The Fall,
The Young Rascals,
Flamin' Groovies,
Country Joe & The Fish,
Gastr Del Sol,
China Crisis,
Bobby Byrd,
Max Romeo,
Terry Callier,
Fugazi,
the Bar-Kays,
Red Lorry Yellow Lorry,
Peter and Kerry,
Althea and Donna,
Wally Richardson,
The West Coast Pop Art Experimental Band,
Josef K,
Fad Gadget,
Dawn Penn,
Kerrie Biddell,
Cabaret Voltaire,
Marshall Jefferson,
Fela Kuti,
Tom Boy,
Urselle,
Idris Muhammad,
Blake Baxter,
Electric Light Orchestra,
Matthew Halsall,
Jesper Dahlbäck,
Hashim,
Stockholm Monsters,
Ponytail,
Joy Division,
Peter & Gordon,
Grauzone,
Yellowson,
Eli Mardock,
Icehouse,
Rosa Yemen,
Altered Images,
Pussy Galore,
The Last Poets,
Marine Girls,
Shoche,
the Fania All-Stars,
Ten City,
The Mojo Men,
Lafayette Afro Rock Band,
Junior Murvin,
E-Dancer,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.