On Flush the Fashion, the execution isn't nearly as good as the idea. Though the new LP includes some of Cooper's feistiest songs in years, Roy Thomas Baker's airtight, homogenized-New Wave production squeezes all the arrogance right out of them. You can barely hear the snarl of yore through the forest of electronic vocal treatments in the Devo-lutionary ''Clones (We're All)'' and ''Model Citizen,'' the latter the artist's sniggering commentary on his own social status in Tinseltown. Also compare the dramatic clarity of Todd Rundgren's production of ''Pain'' (on Roadie) with Baker's Phil Spector- style stranglehold on Alice's singing in the version presented here.

Cooper's group - which is mysteriously uncredited-takes up much of the slack with admirable raunch, plowing through a heavy-metal take of the Sixties garage-punk chestnut, ''Talk Talk,'' with the swashbuckling, fuzz-tone elan of the old band. But with spiritual sons like the Ramones and Gary Numan giving Alice Cooper a run for his millions,Flush the Fashion comes as too little too late. Better late than never, I suppose.