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 Moldova and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Salvador.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the clarinet 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 Saints to the grunge 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 The Jesus and Mary Chain. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Oblivians 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet 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 spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The United States of America,
Kauko Röyhkä ja Narttu,
The Misunderstood,
Joyce Sims,
Magazine,
Spandau Ballet,
Neil Young & Crazy Horse,
The Beau Brummels,
Cecil Taylor,
T. Rex,
Liliput,
Marc Almond,
Nick Fraelich,
Man Parrish,
E-Dancer,
The Barracudas,
Sister Nancy,
Siouxsie and the Banshees,
Bizarre Inc.,
Anakelly,
Qualms,
Cal Tjader,
Theoretical Girls,
Boogie Down Productions,
Crash Course in Science,
Lakeside,
Colin Newman,
Hashim,
Trumans Water,
Jeff Mills,
Niagra,
Boz Scaggs,
DeepChord presents Echospace,
Shuggie Otis,
the Slits,
The Monochrome Set,
Whodini,
Symarip,
Louis and Bebe Barron,
Harmonia,
Reagan Youth,
Gang Green,
Toni Rubio,
The Searchers,
Altered Images,
The Fortunes,
Amon Düül,
Tommy Roe,
Liaisons Dangereuses,
Hardrive,
The Move,
Faust,
Marmalade,
Zapp,
Japan,
Gregory Isaacs,
Avey Tare's Slasher Flicks,
Crispian St. Peters,
Johnny Osbourne,
The Slits,
The Fall,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.