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 Oman and from Portland.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Bologna 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Gerry Rafferty to the jazz 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 Marshall Jefferson. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Alice Coltrane 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 '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet 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?
OOIOO,
Loose Ends,
The Walker Brothers,
X-101,
The Victims,
The Barracudas,
Minor Threat,
Bobby Hutcherson,
Black Flag,
Iggy Pop,
Richard Hell and the Voidoids,
The Buckinghams,
Desert Stars,
David McCallum,
Camouflage,
Warren Ellis,
Delon & Dalcan,
Rakim,
The Velvet Underground,
Leonard Cohen,
the Fania All-Stars,
Pere Ubu,
Bobbi Humphrey,
The Flesh Eaters,
Connie Case,
Brass Construction,
FM Einheit,
Gil Scott-Heron and Jamie xx,
Suburban Knight,
Graham Central Station,
Cal Tjader,
Morten Harket,
New Age Steppers,
Lizzy Mercier Descloux,
Angry Samoans,
Bootsy's Rubber Band,
Agent Orange,
The Chocolate Watch Band,
The West Coast Pop Art Experimental Band,
Throbbing Gristle,
Fifty Foot Hose,
Glambeats Corp.,
Vainqueur,
Alphaville,
Popol Vuh,
Subhumans,
Derrick Morgan,
Chris & Cosey,
Roxy Music,
Panda Bear,
Stockholm Monsters,
Don Cherry,
The Young Rascals,
Pierre Henry,
Traffic Nightmare,
Rhythm & Sound,
Zero Boys,
Ken Boothe,
China Crisis,
Gregory Isaacs,
The Mojo Men,
The Techniques,
Freddie Wadling,
Howard Jones,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.