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 Thailand and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 Scott Walker + Sunn O))) to the funk 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 Clear Light. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Gastr Del Sol record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a güiro 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 chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Nation of Ulysses,
Das Ding,
Popol Vuh,
The Five Americans,
Grey Daturas,
Yusef Lateef,
Matthew Bourne,
Interpol,
The Smoke,
Supertramp,
Stockholm Monsters,
Iggy Pop,
Scientists,
Richard Hell and the Voidoids,
Orchestral Manoeuvres in the Dark,
Electric Prunes,
Jacob Miller,
Strawberry Alarm Clock,
The Mojo Men,
Aswad,
Robert Wyatt,
The Litter,
One Last Wish,
Donald Byrd,
The Gap Band,
Liliput,
Lee Hazlewood,
The Dave Clark Five,
Deakin,
Marcia Griffiths,
T. Rex,
E-Dancer,
Lafayette Afro Rock Band,
Faust,
Zapp,
The Slackers,
Aaron Thompson,
Livin' Joy,
Essential Logic,
Joey Negro,
Notorious BIG live in Amsterdam,
The Barracudas,
Jerry's Kids,
Ten City,
Janne Schatter,
Bluetip,
Sight & Sound,
Warren Ellis,
Little Man,
Joensuu 1685,
Half Japanese,
the Sonics,
Ohio Players,
Grandmaster Flash and the Furious Five,
Fifty Foot Hose,
The Toasters,
X-101,
Buzzcocks,
Gil Scott-Heron and Jamie xx,
Sun Ra,
Unrelated Segments,
Vladislav Delay,
Whodini, Whodini, Whodini, Whodini.
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.