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 Cape Verde and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 kango's stein massive to the punk kids.
I played it at the Troubador.
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 Zero Boys. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro 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 synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
The Smoke,
James Chance & The Contortions,
PIL,
Mark Hollis,
The New Christs,
Lower 48,
Model 500,
The Saints,
Goldenarms,
Oppenheimer Analysis,
Jeru the Damaja,
Blake Baxter,
Sandy B,
Jimmy McGriff,
Kings Of Tomorrow,
Nico,
The Slackers,
Lakeside,
Crispy Ambulance,
Tears for Fears,
Can,
Motorama,
Robert Görl,
Black Moon,
Warsaw,
Buzzcocks,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ken Boothe,
Shoche,
Lonnie Liston Smith,
Livin' Joy,
The Sonics,
The Golliwogs,
Groovy Waters,
Captain Beefheart & His Magic Band,
Marine Girls,
David Axelrod,
Marc Almond,
Minutemen,
Sugar Minott,
Louis and Bebe Barron,
Lou Reed & John Cale,
The Kinks,
Deepchord,
The Tremeloes,
Teenage Jesus and the Jerks,
Reuben Wilson,
Visage,
Bill Near,
Sällskapet,
ABC,
Be Bop Deluxe,
Eli Mardock,
Neil Young & Crazy Horse,
The Toasters,
Cecil Taylor,
Howard Jones,
One Last Wish,
Pantytec,
Dual Sessions,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.