they offer shit money for a remix, they stole E2-E4 artwork without permission, worst of all they took this music to the masses and now I read THE worst reviews from assholes who don't know ANYTHING about house music at Pitchfork or Forced Exposure, they tour the US and don't bring any of the artists they steal from even though they are still active musicians today. I don't know what has happened to NY. It sucks here now, people have to live in Bushwick to pay the rent.
I grew up on the lower east side, I don't even reckognize it, and so many other people have been displaced in their own city to make way for this type of music/fashion and politics. DFA and Ed Banger etc are asymptom of a much bigger problem
These people aren't artists, they are consumers, they just ripping through various movements and genres, they remind me of a plague of insects or pirhanas
The Rapture - Stuck Up Their Own Ass?
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morerecords
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dredd i knight
- Posts: 326
- Joined: Thu Nov 29, 2007 6:33 pm
house/disco has been white (had white people making it, into it etc) for longer than the rapture, or whoever else.
thing is you cant own culture or cultural heritage; its out there for anyone who wants to take a piece, and is assimilated, borrowed and subsumed at will. you can be proud to come from it, but saying others dont deserve it isn't a way forward. aknowledgement helps, but in this fast everything culture, knowledge is 2nd, 3rd, and 4th hand, so peeps dont know where MOST things come from.
accept that as fact, deal with it, and move on to a higher plain.
black culture will continue to reinvent, and it will always be there for the right white people to come along and take a piece.. some of em are even good.
thing is you cant own culture or cultural heritage; its out there for anyone who wants to take a piece, and is assimilated, borrowed and subsumed at will. you can be proud to come from it, but saying others dont deserve it isn't a way forward. aknowledgement helps, but in this fast everything culture, knowledge is 2nd, 3rd, and 4th hand, so peeps dont know where MOST things come from.
accept that as fact, deal with it, and move on to a higher plain.
black culture will continue to reinvent, and it will always be there for the right white people to come along and take a piece.. some of em are even good.
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morerecords
hey I appreciate the homage, but share some of the money, would you? at least give credit. They do neither.
Aslo, I am not saying white folks VS. black folks, but there is a longer-running struggle that started out that way, in another cultrue it might be rich vs. poor, or slaves vs. masters, but in our it's simply beemn referred to that weay for a hundreds years. I know whit efolks were there, but white folks generally aren't first hand citizens in black culture or art and vice-vesra. I am not saying Blackl Vs. white
Aslo, I am not saying white folks VS. black folks, but there is a longer-running struggle that started out that way, in another cultrue it might be rich vs. poor, or slaves vs. masters, but in our it's simply beemn referred to that weay for a hundreds years. I know whit efolks were there, but white folks generally aren't first hand citizens in black culture or art and vice-vesra. I am not saying Blackl Vs. white
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Sales Dude McBoob
- Posts: 2844
- Joined: Thu Dec 02, 2004 9:34 pm
- Location: Durham, NC. USA
- Contact:
LCD's first single:
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 France and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Tokyo and Berlin.
I'm losing my edge to the art-school Brooklynites in little jackets and borrowed nostalgia for the unremembered eighties.
But I'm losing my edge.
I'm losing my edge, but I was there.
I was there.
But I was there.
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 1974 at the first Suicide practices in a loft in New York City.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Daft Punk to the rock kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
I used to work in the record store.
I had everything before anyone.
I was there in the Paradise Garage DJ booth with Larry Levan.
I was there in Jamaica during the great sound clashes.
I woke up naked on the beach in Ibiza in 1988.
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 Beach Boys. All the underground hits. All the Modern Lovers tracks. I heard you have a vinyl of every Niagra record on German import. I heard that you have a white label of every seminal Detroit techno hit - 1985, '86, '87. I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your computer out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your guitars and bought turntables.
I hear that you and your band have sold your turntables and bought guitars.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records? This Heat, Pere Ubu, Outsiders, Nation of Ulysses, Mars, The Trojans, The Black Dice, Todd Terry, the Germs, Section 25, Althea and Donna, Sexual Harrassment, a-ha, Pere Ubu, Dorothy Ashby, PIL, the Fania All-Stars, the Bar-Kays, the Human League, the Normal, Lou Reed, Scott Walker, Monks, Niagra,
Joy Division, Lower 48, the Association, Sun Ra,
Scientists, Royal Trux, 10cc,
Eric B. and Rakim, Index, Basic Channel, Soulsonic Force ("just hit me"!), Juan Atkins, David Axelrod, Electric Prunes, Gil! Scott! Heron!, the Slits, Faust, Mantronix, Pharaoh Sanders and the Fire Engines, the Swans, the Soft Cell, the Sonics, the Sonics, the Sonics, the Sonics.
You don't know what you really want. (x15)
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 France and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Tokyo and Berlin.
I'm losing my edge to the art-school Brooklynites in little jackets and borrowed nostalgia for the unremembered eighties.
But I'm losing my edge.
I'm losing my edge, but I was there.
I was there.
But I was there.
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 1974 at the first Suicide practices in a loft in New York City.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Daft Punk to the rock kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
I used to work in the record store.
I had everything before anyone.
I was there in the Paradise Garage DJ booth with Larry Levan.
I was there in Jamaica during the great sound clashes.
I woke up naked on the beach in Ibiza in 1988.
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 Beach Boys. All the underground hits. All the Modern Lovers tracks. I heard you have a vinyl of every Niagra record on German import. I heard that you have a white label of every seminal Detroit techno hit - 1985, '86, '87. I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your computer out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your guitars and bought turntables.
I hear that you and your band have sold your turntables and bought guitars.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records? This Heat, Pere Ubu, Outsiders, Nation of Ulysses, Mars, The Trojans, The Black Dice, Todd Terry, the Germs, Section 25, Althea and Donna, Sexual Harrassment, a-ha, Pere Ubu, Dorothy Ashby, PIL, the Fania All-Stars, the Bar-Kays, the Human League, the Normal, Lou Reed, Scott Walker, Monks, Niagra,
Joy Division, Lower 48, the Association, Sun Ra,
Scientists, Royal Trux, 10cc,
Eric B. and Rakim, Index, Basic Channel, Soulsonic Force ("just hit me"!), Juan Atkins, David Axelrod, Electric Prunes, Gil! Scott! Heron!, the Slits, Faust, Mantronix, Pharaoh Sanders and the Fire Engines, the Swans, the Soft Cell, the Sonics, the Sonics, the Sonics, the Sonics.
You don't know what you really want. (x15)