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 Senegal and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Cairo.
I'm losing my edge to the art-school Bologna 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 The Chocolate Watch Band to the punk kids.
I played it at the Spitz.
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 The Slackers. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and an arpeggiator 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 synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Malaria!,
John Coltrane,
Jesper Dahlbäck,
The Residents,
Faraquet,
Ohio Players,
R.M.O.,
Franke,
Pantytec,
Danielle Patucci,
Joe Smooth,
Ten City,
Ajijia Myrayebe,
The Leaves,
Yaz,
Q and Not U,
Ituana,
Avey Tare & Kría Brekkan,
Aaron Thompson,
Fad Gadget,
Major Organ And The Adding Machine,
Pantaleimon,
The Neon Judgement,
Smog,
Colin Newman,
T.S.O.L.,
The Techniques,
The Modern Lovers,
The United States of America,
Prince Buster,
The Pop Group,
Popol Vuh,
Lou Reed & John Cale,
T. Rex,
Can,
Agent Orange,
Con Funk Shun,
Angels of Light & Akron/Family,
The Raincoats,
Beasts of Bourbon,
Piero Umiliani,
The Remains,
Whodini,
Brick,
Scrapy,
Dual Sessions,
Ash Ra Tempel,
Scion,
Bush Tetras,
The Associates,
Chris & Cosey,
Hashim,
Dennis Brown,
Barbara Tucker,
Kayak,
Surgeon,
Louis and Bebe Barron,
Minutemen,
Yazoo, Yazoo, Yazoo, Yazoo.
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.