Loser's Way Out
The Milestone Corporation was an indie pop-rock band from Göteborg, Sweden … Read Full Bio ↴The Milestone Corporation was an indie pop-rock band from Göteborg, Sweden active between the years 2003 and 2007.

The band was founded by Jonas Karlsson (guitar), Carl Nelvig (born Leskinen) (organ/piano) and Petter Uvesten (lead vocals) in 2003. The complete line up includes Joakim Axelsson (drums) and Tobias Sjögreen (bass). The band was disbanded in late 2007.

Their music blends blues oriented rock music with catchy pop tunes and is heavily influenced by 70s hard rock and 90s britpop groups. In total, 3 demo EP's were released by the band. All music is available for free download here at last.fm

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Loser's Way Out
The Milestone Corporation Lyrics


No lyrics text found for this track.

The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Most interesting comments from YouTube:

@lucygoksu

[Verse 1]
Congratulations on the mess you made of things
I'm trying to reconstruct the air and all that brings
And oxidation is the compromise you own
But this is beginning to feel like the dog wants her bones, say

[Chorus 1]
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la, la

[Verse 2]
You force your fire and then you falsify your deeds
Your methods dot the disconnect from all your creeds
And fortune strives to fill the vacuum that it feeds
But this is beginning to feel like the dog's lost her lead, say

[Chorus 1]
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la, la

[Chorus 2]
This is beginning to feel
Like the long winded blues of the never
This is beginning to feel
Like it's curling up slowly and finding a throat to choke

[Chorus 2]
This is beginning to feel
Like the long winded blues of the never
Barely controlled locomotive consuming the picture
And blowing the crows to smoke

[Chorus 2]
This is beginning to feel
Like the long winded blues of the never
Static explosion devoted to crushing the broken
And shoving their souls to ghost

[Verse 3]
Eternalized, objectified
You set your sights so high
But this is beginning to feel
Like the bolt busted loose from the lever

[Chorus 3]
Never mind, death professor
Your structure's fine, my dust is better
Your victim flies so high
All to catch a bird's eye view of who's next

[Chorus 3]
Never you mind, death professor
Love is life, my love is better
Your victim flies so high
Eyes could be the diamonds confused with who's next

[Chorus 3]
Never you mind, death professor
Your shocks are fine, my struts are better
Your fiction flies so high
Y'all could use a doctor who's sick, who's next?

[Chorus 3]
Never you mind, death professor
Electrified, my love is better
It's crystallized, so am I
All could be the diamond fused with who's next

[Chorus 4]
This is beginning to feel
Like the dawn of the loser forever
This is beginning to feel
Like the dawn of the loser forever
This is beginning to feel
Like the dawn of the loser forever
This is beginning to feel
Like the dawn of the loser forever



@_RobBanks

DLZ” (‘Deals’) by TV on the Radio is a song that deals with “evil” and how it spreads. The first half of the song describes how a loathsome protagonist rises in power; the second focuses on his impact. Right away, the song hits you with a massive scale of sound, a crooning arriving from the highest dimensions of the cosmic sphere – the song is profound long before learning what’s being sung. This elaborates the scale of the protagonist’s misdeeds, as if to suggest this is a dictator, high-end arms dealer or Walter White from Breaking Bad. When the song closes, all that’s left is a quiet chanting: “This is beginning to feel like the dawn of a loser forever”. While every human is mortal, one’s impact lives on longer than their life – good and bad. If we take up “loser” characteristics, they may be passed on, forever.

Indirect metaphor is painted over “DLZ”’s lyrics like a coating. Taken as a whole, however, all these symbols paint but one color – an angry crimson. Furthermore, the paint is being thrown in frustration against the canvas, as if the painter has been remaking the same painting over and over, growing weary in the process. Indeed, the first line of the song, “Congratulations on the mess you made of things,” is sung with condescension and jest, summing up the song’s tone in half a sentence.

“To reconstruct the air” is impossible and the protagonist fails in his attempted reconstruction (making “a mess of things”). Oxidation is a process in which electrons are lost – this may seem out of place until making the connection that the song is describing the loss of the soul in three sentences. For going against what’s natural (“reconstructing the air”), you’ve dug yourself into a hole from which you cannot escape (the “mess you’ve made” / “compromise you owe”) and now you’ve lost your soul (the soul representing the electrons lost in oxidation). Ironically, it’s beginning to feel like the dog (the loathsome protagonist) wants a bone (is starting to feel guilty / wants a break).

If the first verse provided exposition into how the protagonist turns evil, the second describes why he remains evil. He “forces his fire” then “falsifies his deeds” – his malicious wishes are subjected to the world and when it’s time to answer consequence, he covers up ever being involved in the first place. The song implies not only does the protagonist avoid accusation; he becomes rich off of his misdeeds.

Unfortunately, no amount of fortune could ever fill the vacuous void of his soul; regardless, the protagonist still tries to satisfy this emptiness with further wealth and power. This is the beginning of the end, the point of no return – when evil becomes impossible to sustain with a sane mind (“This is beginning to feel like the dog’s lost her lead”). Again, the song is implying the protagonist has found great success, perhaps even admired by many, but has lost the spark (oxidation/soul) which made him admirable in the first place.

It is now when Tunde cries out “This is beginning to feel like the long-winded blues of the never” – this is beginning to feel like there is no going back. There is no hope, escape or plan-B. The protagonist is so consumed by greed that he’s essentially dying (“curling up slowly”) and now looks to bring the rest of the world down with him (“finding a throat to choke”). He descends down this self-made spiral so fast and with such reckless abandon, it could be compared to a train running itself off the tracks (“barely controlled locomotive”).

At this point, the only thing in his future is downfall – with a tunnel-vision, he ignores all outside perspective and hope (“consuming the picture”). Again, the song references the protagonist’s desire (“static explosion”) to pass along his disease to whomsoever gets in his way (“devoted to crushing the broken”) so that they too will suffer in the same hell (“shoving their souls to ghost”).

What’s the result? Eternal admiration; his likeness objectified into stone (“eternalized; objectified”). His “sights” were set powerfully upon the top and the song has revealed the extent of his success. However, this is where he begins to face criticism, as Tunde once again observes, “This is beginning to feel like the bolt’s busted loose from the lever” – he’s gone mad with power. Unhinged, derailed, insane – the public is catching on.

The narrator now enters the song as a second character, the antagonist in this case, and asserts how impossible it would be to ever fall victim to the protagonist’s evil nature (“Never you mind, death professor! / Your structure’s fine; my dust is better!”). This insult about “dust” seems to say “Regardless how massive or complex these structures are (“eternalized; objectified”), there’s more substance to be found in the dust from my footprint, however small it’s impact may be.” Additionally, in the same stanza is a jab toward those who are “weak” enough (“your victims”) to be swayed by the promise of power, to the point where they give everything to reach it (“fly so high”) only to realize that at the lowest pit of hell, there’s nothing to do but drag others down with you (“all to catch a bird’s eye-view of who’s next”).

Swept away in hatred for the protagonist, the narrator continues preaching upon his soapbox. “Love is life! My love is better!” Tunde declares. It’s emancipation from any remaining connection the narrator has to this narrative of evil. He theorizes if more people weren’t “confused with who’s next”, our “eyes could be the diamonds” – our transcendent focus would astound all, the same way a diamond’s shine would catch anyone’s attention.

He elaborates — “Your shocks are fine – my struts are better” – while power’s hypnotism is profound, the ability for the narrator to cast it aside allows him to rant (“strut”) with superior ease. Still, there’s another reference to how many are swayed by twisted promises (“Your fiction flies so high”) and how these people are past the point of self-correction, for they are tumbling down the spiral (“Y’all could use a doctor / who’s sick? / who’s next?”)

Pen-ultimately, the narrator sings how his love is electric, crystalizing into the psyches of everyone whom experiences it. Thus, the impact will last longer than any statue or monument. Promising how “all could be the diamond fused with–” the narrator interrupts himself: “—who’s next?” Does he question who is next to rise, or fall? The song ends soon after.

Though filled with abstract metaphor, the song’s overall tone is quite simple to grasp. From here, you can translate this general narrative into something much more specific. It is easy to fixate on the song’s phonetic title, “Deals”, as if to say this is a song about the power structure in our society and how TV on the Radio have an antidote – musical expression (“electrified – my love is better!”). However, the song is as applicable to trust issues in a relationship as it is to a critique on organized religion. Regardless what you choose to read into and what you choose to exclude, the ending of the song is very much about liberation and the mentality one develops when freed. What you are being liberated from, is up to you as a listener to decide.

Houseofxen.com



All comments from YouTube:

@sonicsix569

when another kid in your neighborhood sets up his own lemonade stand

@_vader_943

ahahahahhahhahahahahahahahahahahha

@Resecupss

Stay out of my territory. Or at least my sidewalk

@isaacdales1841

You're buying the wrong sugar. The sweetness is found in how the sugar dissolves and not in the sugar itself. You need to get the big 12 oz bottle of simple syrup. Sweeter, you understand? Those will only get you big sugar crystals collected at the bottom. And don't use your father's stolen cash. Do it on your mom's usual grocery store trip. Parents won't mind, more lemons. Attracts less attention. You're following me here?

@sonicsix569

@@isaacdales1841 lmao

@Jackal_007

More like when someone else candy dealing to your customers

168 More Replies...

@anthonycarelle8817

"Stay out of my territory"

-Willy Wonka

@darklight797

"Shut up! You're so damn annoying!"

-Jotaro Kujo 1988

@manuwoki1793

@@darklight797 ew jojo

@darklight797

@@manuwoki1793 no.

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