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 Morocco and from London.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Salvador.
I'm losing my edge to the art-school Calgary 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the snare 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 Babytalk to the grime kids.
I played it at the Astoria.
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 Johnny Clarke. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Danielle Patucci,
The Barracudas,
The Music Machine,
Sexual Harrassment,
The Shadows of Knight,
Q and Not U,
The Tremeloes,
Guru Guru,
The Index,
Sonny Sharrock,
Andrew Ashong & Theo Parrish,
Scott Walker + Sunn O))),
Aural Exciters,
Throbbing Gristle,
Ludus,
Von Mondo,
The Detroit Cobras,
Black Sheep,
the Human League,
Jeru the Damaja,
Magazine,
Avey Tare & Kría Brekkan,
Sandy B,
Bobby Byrd,
the Slits,
Kerrie Biddell,
Rekid,
Minutemen,
Bootsy Collins,
Accadde A,
Pere Ubu,
Deadbeat,
Electric Prunes,
EPMD,
The Flesh Eaters,
Maurizio,
Prince Buster,
John Holt,
Altered Images,
Inner City,
Darondo,
E-Dancer,
Mars,
The Royal Family And The Poor,
Big Daddy Kane,
Oblivians,
ABC,
The Litter,
Bad Manners,
The Monochrome Set,
Hashim,
Janne Schatter,
The Pop Group,
Magma,
June Days,
Eve St. Jones,
Radio Birdman,
Deutsch Amerikanische Freundschaft,
The Sonics,
Das Ding,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.