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When the last strip of light is dimming out
When the spotlight starts to fade
There's no tomorrow
You better live
All of the roles that we play
In your mark, close the worlds, let's escape
Oh, the price that we pay
Our dearest nightmare, my conscience, the end
On the label, but masquerade
Never of feeling you're true of
Deeper inside out masquerade
Listen in face of you
Tell me what do you see on the last script
Yeah it's a trip, what's it all for
If we are truly dancing our song song, darling
Shake it like never before
All of the roles that we play
In your mark, close the worlds, let's escape
Oh, the price that we pay
Our dearest nightmare, my conscience, the end
When the spotlight starts to fade
There's no tomorrow
You better live
In your mark, close the worlds, let's escape
Oh, the price that we pay
Our dearest nightmare, my conscience, the end
Never of feeling you're true of
Deeper inside out masquerade
Listen in face of you
Yeah it's a trip, what's it all for
If we are truly dancing our song song, darling
Shake it like never before
In your mark, close the worlds, let's escape
Oh, the price that we pay
Our dearest nightmare, my conscience, the end
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This song sounds like 'The End Has No End' by the Strokes, which is an interpolation of 'Sweet Child O' Mine' by Guns and Roses. This is exactly the effect No Cities To Love is going for - and that's why I love it. It's purposely borrowing from popular songs of the day as many fans have pointed out, but for the sake of demonstrating that damage that other bands have done by 'stealing' verses and solos from music in the past. This is why Sleater-Kinney is art.