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 Ireland and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Lagos 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 spring reverb 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 Sam Rivers to the grunge 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 Excepter. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer 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 mellotron.
I hear that you and your band have sold your mellotron 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 Dirtbombs,
Slave,
One Last Wish,
Teenage Jesus and the Jerks,
Hoover,
Bootsy's Rubber Band,
Los Fastidios,
Stetsasonic,
X-Ray Spex,
Scientists,
Camberwell Now,
Essential Logic,
Graham Central Station,
Ice-T,
Erasure,
Quantec,
Sonny Sharrock,
Hashim,
Pet Shop Boys,
Hardrive,
Deutsch Amerikanische Freundschaft,
The Fortunes,
The Neon Judgement,
Negative Approach,
Big Daddy Kane,
Lou Reed & Metallica,
The Golliwogs,
Ossler,
The Victims,
Heaven 17,
Jesper Dahlback,
the Human League,
Average White Band,
Mo-Dettes,
London Community Gospel Choir,
Connie Case,
Johnny Osbourne,
Nas,
Faust,
Mr. Review,
Judy Mowatt,
Bronski Beat,
Donny Hathaway,
Ituana,
Angry Samoans,
The Detroit Cobras,
The West Coast Pop Art Experimental Band,
The Tremeloes,
Barrington Levy,
The Invisible,
Joyce Sims,
The Wake,
Andrew Ashong & Theo Parrish,
Von Mondo,
David McCallum,
Todd Terry,
Dark Day,
Thompson Twins,
Curtis Mayfield,
Bad Manners,
Stockholm Monsters,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.