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 Mali and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1977.
I'm losing my edge.
To all the kids in Madrid and Mexico City.
I'm losing my edge to the art-school Tehran 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 The Smiths to the punk 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 Cabaret Voltaire. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every The Slits 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a guitar 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 clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Sound Behaviour,
The Invisible,
The Move,
Mandrill,
Patti Smith,
Swans,
Suburban Knight,
Stereo Dub,
Black Pus,
Smog,
Slick Rick,
Fela Kuti,
Blake Baxter,
The Fuzztones,
Louis and Bebe Barron,
Accadde A,
The Gun Club,
Tears for Fears,
The Dirtbombs,
Arthur Verocai,
X-102,
Bang On A Can,
Isaac Hayes,
Reagan Youth,
Radio Birdman,
OOIOO,
Cecil Taylor,
Malaria!,
The Toasters,
Cal Tjader,
Eve St. Jones,
Donald Byrd,
Dead Boys,
The Music Machine,
Rotary Connection,
Amon Düül,
Pet Shop Boys,
Zapp,
Avey Tare,
Subhumans,
Underground Resistance,
The Dead C,
Grandmaster Flash and the Furious Five,
Nik Kershaw,
Nas,
In Retrospect,
Gong,
The Golliwogs,
Negative Approach,
The Stooges,
Soul II Soul,
Theoretical Girls,
Siglo XX,
New York Dolls,
Matthew Bourne,
Bootsy's Rubber Band,
Ultravox,
Tropical Tobacco,
Henry Cow,
The Motions,
Talk Talk,
PIL, PIL, PIL, PIL.
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.