LCD Soundsystem

"Yeah, I'm losing my edge I'm losing my edge The kids Are coming up from behind"

"I was the first guy playing to the rock kids I played it at Everybody thought I was crazy We all know I was there I was there I've never been wrong"

"But have you seen my records? , , , , , The Trojans, , , , , , Sexual Harrassment, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , The Sonics, The Sonics, The Sonics"

"With no memories To keep you up at night"

"Wasted and complacent And you about the same But still I want to get it On with you tonight"

"It's like a culture Without the effort of all the culture It's like a movement Without the bother of the meaning It's like a discipline Without the discipline of all of the discipline"

"Here comes the report nothing to report see It's all the same It seems the punk rock as an experiment well It pulled up lame You got the fat guy in the T-Shirt Doing all the singing Straight to the drunk tank doing the research 'n Doing all the blame"

"Everybody keeps on talking about it Nobody's getting it done I'm tryin', tired, tired of listening, listening Knowing that the shit's gotta run"

"Your city's a sucker My city's a creep"

"the greatest if you get someone to pay the rent Wahoo! North America And it's the furthest you can live from the government uh huh huh Some fat American Christians might disagree Here in North America But New York's the only place we're keepin' them off the street Now we can't have parties like in where they go all night Shut down in North America Or like where they go another night, alright, uh huh uh huh You see I love this place that I have grown to know Alright, North America And yeah, I know you wouldn't touch us with a ten-foot pole Cause we're North Americans"

"I wish that we could talk about it But there, that's the problem"

"The coffee isn't even bitter Because, what's the difference?"

"To tell the truth I saw it coming The way you were breathing But nothing can prepare you for it The voice on the other end"

"There's all the work that needs to be done It's late for revision There's all the time and all the planning And songs to be finished And it keeps coming And it keeps coming And it keeps coming until the day it stops"

"There shouldn't be this reign of silence But what are the options When someone great is gone?"

"It comes apart The way it does in bad films Except the part Where the moral kicks in"

"I wouldn't trade one stupid decision For another five years of life You drop the first ten years just as fast as you can And the next ten people who are trying to be polite When you're blowing eighty-five days in the middle of France Yeah, I know it gets tired, only where are your friends tonight?"

"All the good people wanna rescue All the small people wanna talk to you All the clever people wanna tell you All the little people wanna dance, it's true"

"Us... and them. Over and over again."

"Like a rat in a cage Pulling minimum wage"

"New York, you're perfect, oh, please don't change a thing Your mild billionaire mayor's now convinced he's a king."

"New York, I love you but you're freaking me out ."

"Talking like a jerk Except you are an actual jerk And living proof that sometimes friends are mean"

"Present company excluded in every way Present company, makes me wanna stay"

"Killing it with close inspection Killing it can only make it worse It sort of makes it breed"

"I miss the way the night comes With friends who always make it feel good This basement has a cold glow Though it's better than a bunch of others"

"We should try a little harder In the tedious march of the few Every day's a different warning There's a part of me hoping it's true"

"Drunk girls know that love is an astronaut It comes back but it's never the same"

"You wanted a hit But maybe we don't do hits I try, and try It ends up Feeling kind of wrong"

"Cause you're afraid of what you need Yeah, you're afraid of what you need If you weren't, yeah you weren't Then I don't know what we'd talk about Yeah no one ever knows what you're talking about So i guess you're already there No one opens up when you scream and shout But it's time to make a couple things clear If you're afraid of what you need If you're afraid of what you need Look around you, you're surrounded It won't get any better And so, goodnight"

"Oh, the revolution was here That would set you free from those bourgeoisie In the morning everything's clearer When the sunlight exposes your age"

"Find the place where you can be boring Where you won't need to explain That you're sick in the head and you wish you were dead Or at least instead of sleeping here you prefer your own bed, come on You just suck at self-preservation Versus someone else's pain"

"He was leather and he was screaming Swinging chains against the stage And you couldn't have known he was leaving And now more will come with age"

"The old guys are frightened and frightening to behold"

"The early years were boring The quiet, unhappy punk See mother was a cripple and my father was a drunk but gentle man So we do the best we can This is the plan Wear your makeup like a man"

"James and Tim were working together in the early, early part of it, but very quickly I think James thought, “I can do this programming. Actually it doesn’t look that difficult. I can figure that out.” He figured it out and then pretty much shut the door on everyone."

"My career as a front man was accidental. […] At some point it dawned on me that I had to do it. If I thought it was such a good idea for the Rapture to go with us to EMI, then I had to do it myself. I had to show that I meant it. I thought, “If I sit here and complain about how bullshit their leaving is and do nothing, I’m just as guilty. I can play, I can engineer, I can sing and do all the instruments, and if I can’t make something good from all that, then, tough shit for me.” I went to EMI and said, “I have a band now.”"

"The thing that makes pop music so great is the way it parallel-parks on the bleeding edge of cool: nothing could be better at this moment than this beat, this feeling, this chorus. It takes something ephemeral and impossible, and for three to four exhilarating minutes, it makes it accessible and real. “Losing My Edge” is a song that’s already bled out. It sticks its nose in all the parts you’re supposed to ignore: jealousy, resentment, sarcasm, age. But it’s not obnoxious in the way “funny” music often is. The real trick is that it’s hitting you while it’s heckling you—the song bangs, even if the vocalist is a crank. I still don’t quite know how he did it. Most breakthrough singles are about first love. “Losing My Edge” is about first loss. And the second. And the third. And etc. etc. until everyone is just a jaded music critic in the bar right after the ugly light switches on. And you’re dancing too much to care."

"Do I like that track? No, I hate it, to be honest, because I know the things that are being ripped off. “Losing My Edge” is a direct rip-off of a Killing Joke track. Directly. I hate it because it’s devalued those tracks. Tracks which I love I can’t listen to anymore."

"There’s nothing wishy-washy with James. He has epiphanies on accident. And they’re very clear, obvious things, but quite amazing, really. He said to me, “I woke up in the middle of the night, and I have an idea for the second record. It has to be better than the first one.” Totally simplistic but he actualized it. was huge."

"Originally, there was also a plan where Tim would help James make his first record, produced by the DFA. James went to that residential farm in Massachusetts. A studio farm. They had nice gear; it is very residential and chill out there. James went for like three weeks. Tim, in great Tim fashion, protested this LCD project and said, “I’m not going to the farm and I don’t want to help you. Go do it yourself.” […] I didn’t say this to him, but I was thinking, “What are you doing? You’re blowing it, dude. That’s another train that’s leaving. You should be part of that, even if you’re just in the room. What are you going to fucking do here for six weeks? Go sit on a farm! Go twiddle knobs up in Massachusetts.” He didn’t want to do it. Didn’t want to give James the satisfaction of, like, “Okay, this one is for you.” It was very selfish."

"I knew it was the last record. I just felt: three and out. With punk bands, the first three are good and the rest suck. Did I think I’d start to suck? I’m not in charge of that. I was thinking about Little Creatures by Talking Heads. That’s their biggest record and I don’t like that record. And that’s a band I love. What would be the point of continuing? I like to fight. I’m an underdog by nature and I like to be fighting. I don’t make music for myself. I make music to fight."

"Some bands say, “I don’t care if people listen.” And I was like, “Well, what’s the fucking point of that?” To me it’s all about communication. I wanted it to be personal, but we were pretty ambitious. I was just getting out of my indie rut."

"I just remember, within a certain amount of time after seeing MSG on his routing sheet, he said, “Did I tell you? I think it’s going to be the final show.” That’s pretty much how it happened. “You know what? Let’s just end it there.” It’s almost like he backed himself into the myth. I mean, what’s more rock and roll than Madison Square Garden and a mic drop?"

"Shut up and play the hits!"