mirror of
https://github.com/WallyS02/Song-Lyrics-Generator.git
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5567 lines
163 KiB
Plaintext
5567 lines
163 KiB
Plaintext
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,Title,Lyrics
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0,,"I saw you dancin'
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You moved like Sinatra
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On speed
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The lights were a flashin'
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And tongues were a waggin'
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Over you
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It's too late for trying
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It's too late for denying
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All those little things you and me have done
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I'm sorry hun'
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I was hoping for a recall
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Mix of you high from the sun
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Ah but nothing
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Only lone magpies come
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I saw you dancin'
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You moved like Sinatra
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On speed"
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1,2013 ,"Well the times are so a changin'
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Baby even when it’s live
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You can press pause and rewind
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You knew it had to go amazing
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But is this what you had in mind?
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Oh there’s nothing you can’t find
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It’s two thousand and thirteen
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All across the galaxy
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It’s two thousand and thirteen
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(Yeah)
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On the back of her transmitter
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There’s a little shiny fruit
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And it’s coming after you
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As for Instagram and Twitter
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She got caught in both lassoes
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And neither one will cut her loose
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It’s two thousand and thirteen
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All across the galaxy
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It’s two thousand and thirteen
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(Yeah)
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Yeah
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So baby take a walk with me
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Past flying cars and time machines
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There’s magic like you won’t believe, no
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It’s two thousand and thirteen
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All across the galaxy
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It’s two thousand and thirteen
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All across the galaxy"
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2,505 ,"I'm going back to 505
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If it's a 7 hour flight or a 45 minute drive
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In my imagination you're waiting lying on your side
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With your hands between your thighs
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Stop and wait a sec
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When you look at me like that my darling
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What did you expect?
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I'd probably still adore you with your hands around my neck
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Or I did last time I checked
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I’m not shy of a spark
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A knife twists at the thought that I should fall short of the mark
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Frightened by the bite though its no harsher than the bark
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The middle of adventure, such a perfect place to start
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I'm going back to 505
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If it's a 7 hour flight or a 45 minute drive
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In my imagination you're waiting lying on your side
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With your hands between your thighs
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But I crumble completely when you cry
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It seems like once again you've had to greet me with goodbye
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I'm always just about to go and spoil a surprise
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Take my hands off of your eyes too soon
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I'm going back to 505
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If it's a 7 hour flight or a 45 minute drive
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In my imagination you're waiting lying on your side
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With your hands between your thighs and a smile"
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3,7 ,"1, 2, 3, 4, 5, 6, 7
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Well I wrote my number down
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I never wrote it down before
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Was gonna bring it over like something from a film
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But I didn't have the bottle at all
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Well I were looking and you kept staring
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Your thoughts pairing up with mine
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And when you're so pretty and I'm so shy
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You probably didn't give me the eye though I'm sure you did
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Well I went outside
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Couldn't say I tried
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And I felt regret
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Because you haven't bashed me and dashed back in
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Cause the ship hasn't sailed yet
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But when I did I couldn't see your face
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I could see your mates but that wouldn't do
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Well I dashed around, tried to find you
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But you were, nowhere to be seen
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Oh no no...
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(la la la, la la la, la, la la la la)
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(la la la, la la la, la, la la la la)
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(la la la, la la la, la, la la la la)
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(la la la, la la la, la, la la la la)
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Well she moved in ways, that kept her there
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In our minds for days
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And weeks and months
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I was that amazed
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And there she stayed
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Surrounded by the what if's and the maybe's"
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4,A Certain Romance ,"Well oh they might wear classic Reeboks
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Or knackered Converse
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Or tracky bottoms tucked in socks
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But all of that's what the point is not
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The point's that there ain't no romance around there
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And there's the truth that they can't see
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They'd probably like to throw a punch at me
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And if you could only see 'em, then you would agree
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Agree that there ain't no romance around there
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You know, oh it's a funny thing you know
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We'll tell 'em if you like
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We'll tell 'em all tonight
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They'll never listen
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Because their minds are made up
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And course it's all okay to carry on that way
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'Cause over there there's broken bones
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There's only music, so that there's new ringtones
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And it don't take no Sherlock Holmes
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To see it's a little different around here
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Don't get me wrong, though there's boys in bands
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And kids who like to scrap with pool cues in their hands
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And just cause he's had a couple of cans
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He thinks it's alright to act like a dickhead
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Don't you know, oh it's a funny thing you know
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We'll tell 'em if you like
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We'll tell 'em all tonight
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They'll never listen
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Because their minds are made up
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And course it's all okay to carry on that way
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But I said
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No! Oh no!
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Well you won't get me to go
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Not anywhere, not anywhere
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No I won't go
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Oh no no!
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Well over there there's friends of mine
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What can I say, I've known 'em for a long long time
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And they might overstep the line
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But you just cannot get angry in the same way
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No, not in the same way
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So not in the same way
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Oh no, oh no no"
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5,All My Loving ,"Close your eyes and I'll kiss you,
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Tomorrow I'll miss you;
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Remember I'll always be true.
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And then while I'm away,
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I'll write home every day,
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And I'll send all my loving to you.
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I'll pretend that I'm kissing
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The lips I am missing
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And hope that my dreams will come true.
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And then while I'm away,
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I'll write home every day,
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And I'll send all my loving to you.
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All my loving I will send to you.
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All my loving, darling I'll be true.
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Close your eyes and I'll kiss you,
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Tomorrow I'll miss you;
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Remember I'll always be true.
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And then while I'm away,
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I'll write home every day,
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And I'll send all my loving to you.
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All my loving I will send to you.
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All my loving, darling I'll be true.
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All my loving, all my loving,
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Ooh, all my loving I'll send to you."
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6,All My Own Stunts ,"Caricatures of your wrecking ball
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Gown in my mind all the time
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I wanna be in that damsel-patterned alley
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Where you go for a smoke
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And sorrow slow dances
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The phones are lighting up
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Taking no chances
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Close but never close enough
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Been watching cowboy films
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On gloomy afternoons
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Tinting the solitude
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Put on your dancing shoes
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And show me what to do
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I know you've got the moves
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All my own stunts
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High noon has changed its tune
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Linking arms, sinking hearts
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And sorrow slow dances
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Around the edges of her eyes
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Taking no chances
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The last one out to win a prize
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Been watching cowboy films
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On gloomy afternoons
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Tinting the solitude
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Put on your dancing shoes
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And show me what to do
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I know you've got the moves
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'Cause I'm from High Green, I'm from High Green"
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7,American Sports ,"So when you gaze at planet earth from outer space
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Does it wipe that stupid look off of your face?
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I saw this aura over the battleground states
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I lost the money, lost the keys
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But I'm still handcuffed to the briefcase
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And I never thought, not in a million year
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That I'd meet so many lovers
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Can I please have my money back?
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My virtual reality mask is stuck on 'Parliament Brawl'
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Emergency battery pack just in time for my weekly chat with God on videocall
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Breaking news they take the truth and make it fluid
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The trainer's explanation was accepted by the steward*
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A montage of the latest ancient ruins
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Soundtracked by a chorus of ""you don't know what you're doing""
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And I never thought, not in a million year
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That I'd meet so many lovers
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And all of my most muscular regrets explode
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behind my eyes like American sports
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And I never thought, not in a million year
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That I'd meet so many lovers
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*ten i kilka kolejnych wersów zostały napisane przez dziadka Alexa Turnera, który pasjonuje się wyścigami konnymi i zaproponował Alexowi, by ten dodał do tekstu piosenki zdanie, pojawiające się na każdym wyścigu"
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8,Anyways ,"Just another microcosm somewhere in the ether,
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Putting the world to rights with Bing Crosby eyes
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Oversharing and its bitter aftertaste
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Exactly the wrong time,
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in exactly the wrong place
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Save it for a rainy day
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Baby, you go hard in the paint
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It’s just another race to Anyways
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Philanthropic toga party
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What a place for both the opposite sides
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of my double life to finally collide
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Sharing secrets I was taking to the grave
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Nosebleeds from epiphanies I took full in the face
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Oh, come o’er by the fire babe, let’s all participate
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in yet another race to Anyways
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Oh, how’s your mum and dad been doing with the generation gap?
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Yeah!
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I’m behind my movie camera
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I’ve got my megaphone
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You can call me Alexander
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It’s nice to meet you all
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Listening to the shipping forecast driving to the airport
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Me and the guys
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Metropolis ablaze in the rearview
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Devising methods to both have and eat your cake
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Mm, just like the ones that Mother Nature used to bake
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You look as if you know exactly what I’m gonna say
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Is just another race to
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Anyways"
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9,Arabella ,"Arabella's got some interstellargator skin boots
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And a helter skelter around her little finger and I ride it endlessly
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She's got a Barbarella silver swimsuit
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And when she needs to shelter from reality
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She takes a dip in my daydreams
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My days end best when this sunset gets itself behind
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That little lady sitting on the passenger side
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It's much less picturesque without her catching the light
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The horizon tries but it's just not as kind on the eyes
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As Arabella, oh
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As Arabella
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Just might have tapped into your mind and soul
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You can't be sure
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Arabella's got a 70s head
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But she's a modern lover
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It's an exploration, she's made of outer space
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And her lips are like the galaxy's edge
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And a kiss the color of constellation falling into place
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My days end best when this sunset gets itself behind
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That little lady sitting on the passenger side
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It's much less picturesque without her catching the light
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The horizon tries but it's just not as kind on the eyes
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As Arabella, oh
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As Arabella
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Just might have tapped into your mind and soul
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You can't be sure
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(That's magic) In a cheeath print coat
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(Just a slip) Underneath it I hope
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(Asking if) I can have one of those
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(Organic) Cigarettes that she smoke
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(Wraps her lips) 'Round that Mexican Coke
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(Makes you wish) That you were the bottle
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(Takes a sip) Of your soul, and it sounds like
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Just might have tapped into your mind and soul
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You can't be sure"
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10,Baby I'm Yours (cover Barbary Lewis) ,"Baby, I'm yours (baby, I'm yours)
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And I'll be yours (yours) until the stars fall from the sky,
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Yours (yours) until the rivers all run dry
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In other words, until I die
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Baby, I'm yours (baby, I'm yours)
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And I'll be yours (yours) until the sun no longer shines,
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Yours (yours) until the poets run out of rhyme
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In other words, until the end of time
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I'm gonna stay right here by your side,
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Do my best to keep you satisfied
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Nothin' in the world can drive me away
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'Cause every day, you'll hear me say
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Baby, I'm yours (baby, I'm yours)
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And I'll be yours (yours) until two and two is three,
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Yours (yours) until the mountains crumble to the sea
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In other words, until eternity
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Baby, I'm yours
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'Til the stars fall from the sky
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Baby, I'm yours
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'Til the rivers all run dry
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Baby, I'm yours
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'Til the poets run out of rhyme"
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11,Bad Woman ,"When you left the house this evening,
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You said you'd be back in a little while
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Well I've been waiting for such a long time,
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And this wait is driving me wild...
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And while I wait I think about you,
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Do you need me when I'm not there ?
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Are you planning to be without me ?
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Do you have a new attract ?
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You're a bad bad woman
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You're a bad bad woman
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If he is on you...
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It keeps flashing through my mind,
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If you would only call,
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If you would be so kind.
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Imagine things,
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I see another man
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And it's this waiting I just can't stand...
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You're a bad bad woman
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You're a bad bad woman
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You're a bad bad woman
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You're a bad bad woman"
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12,Balaclava ,"Running off over next doors garden
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Before the hour is done
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It's more a question of feeling
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Than it is a question of fun
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The confidence is the balaclava
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I'm sure you'll baffle 'em good
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Will the ending reek of salty cheeks
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And runny makeup alone
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Or will blood run down the face
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Of a boy bewildered and scorned
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And you'll find yourself in a skirmish
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And you wish you'd never been born
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And you tie yourself to the tracks
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And there isn't no going back
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And it's wrong wrong wrong
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But we'll do it anyway cause we love a bit of trouble
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Are you pulling her from a burning building
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Or throwing her to the sharks
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Can only hope that the ending is as pleasurable as the start
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The confidence is the balaclava, i'm sure you baffle 'em straight
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And its wrong wrong wrong, she can hardly wait
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That's right, he won't let her out his sight
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Now the shaggers perform
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And the daggers are drawn
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Who's the crooks in this crime?
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That's right, he won't let her out his sight
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Now the shaggers perform
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And the daggers are drawn
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Who's the crooks in this....
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Crime!
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That's right, he wont let her out his sight
|
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That's right, he wont let her out his sight
|
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That's right, he wont let her out his sight
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Will you be able to boast that the day held the most
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Flawless heist of all time
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|||
|
You knew that it'd be trouble right before the very first kiss
|
|||
|
Quiet and assuming but you heard that they were the naughtiest
|
|||
|
She pleaded with you to take it off
|
|||
|
But you resisted and fought
|
|||
|
Sorry sweetheart, I'd much rather keep on the balaclava"
|
|||
|
13,Batphone ,"I want an interesting synonym to describe this thing
|
|||
|
That you say we're all grandfathered in
|
|||
|
I'll use the search engine
|
|||
|
(We've got much to discuss)
|
|||
|
Too much to discuss over a bucket of balls
|
|||
|
I can recall the glow of your low beams
|
|||
|
|
|||
|
It's the big night in Tinsel City
|
|||
|
Life became a spectator sport
|
|||
|
I launch my fragrance called 'Integrity'
|
|||
|
I sell the fact that I can't be bought
|
|||
|
Have I told you all about the time that I got sucked into a hole through a handheld device?
|
|||
|
I will flashback now and again but I'm usually alright
|
|||
|
Thankfully the process has been simplified since the last time you tried
|
|||
|
|
|||
|
I've recognized the glow of your low beams numerous times
|
|||
|
I'll be by the Batphone if you need to get a hold
|
|||
|
Making a selection opening credits roll
|
|||
|
Panoramic windows looking out across your soul
|
|||
|
|
|||
|
You go in through the door
|
|||
|
Vengeance trilogy wallpaper walls
|
|||
|
The have re-decorated it all
|
|||
|
They've changed all the lights and the bar's down the side
|
|||
|
|
|||
|
I've recognized the glow of your low beams numerous times
|
|||
|
Through fairly opaque blinds in the sitting room
|
|||
|
The vehicles will pass by but I know when it's you
|
|||
|
I'll be in a nose dive in my flying shoes
|
|||
|
Right behind your closed eyes like a memory from your youth
|
|||
|
I'll be by the Batphone if you need to get a hold
|
|||
|
Making a selection opening credits roll
|
|||
|
Killed pink flamingos, computer controlled
|
|||
|
Panoramic windows looking out across your soul"
|
|||
|
14,Big Ideas ,"That's quite a number to sing
|
|||
|
Spot lit getting lowered in
|
|||
|
Can you co-direct and play the twins?
|
|||
|
And adapt the main theme for mandolins?
|
|||
|
I've conjured up wonderful things
|
|||
|
The Ballad of What Could Have Been
|
|||
|
Over and out
|
|||
|
It's been a thrill
|
|||
|
|
|||
|
I had big ideas, the band was so excited
|
|||
|
The kind you'd rather not share over the phone
|
|||
|
But now the orchestra's got us all surrounded
|
|||
|
And I cannot for the life of me remember how they go
|
|||
|
|
|||
|
Co-ordinated release
|
|||
|
Nationwide festivities
|
|||
|
We had 'em out of their seats
|
|||
|
Waving their arms and stomping their feet
|
|||
|
Some just hysterical scenes
|
|||
|
The Ballad of What Could Have Been
|
|||
|
Over and out
|
|||
|
Really it's been a thrill
|
|||
|
|
|||
|
I had big ideas, the band was so excited
|
|||
|
The kind you'd rather not share over the phone
|
|||
|
But now the orchestra's got us all surrounded
|
|||
|
And I cannot for the life of me remember how they go
|
|||
|
I just can't for the life of me remember how they go"
|
|||
|
15,Bigger Boys and Stolen Sweethearts ,"There’s always somebody taller
|
|||
|
With more of a wit
|
|||
|
And he’s equipped to enthrall her
|
|||
|
And her friends think he’s fit
|
|||
|
And you just can’t measure up
|
|||
|
Though you don’t have a prayer
|
|||
|
Wishing that you’d made the most
|
|||
|
Of her when she was there
|
|||
|
|
|||
|
They’ve got engaged
|
|||
|
Is no intention of a wedding
|
|||
|
He’s pinched ya bird and
|
|||
|
And he’d probably kick your head in
|
|||
|
|
|||
|
Bigger boys and stolen sweethearts
|
|||
|
Oh, you’re better off without her anyway
|
|||
|
You said you wasn’t sad to see her go
|
|||
|
Yeah, but I know you were, though
|
|||
|
|
|||
|
Now you don’t know what she’s up to you can only assume
|
|||
|
If she’s not on the front of the shops
|
|||
|
And then they’ve gone to his room
|
|||
|
Bet she’s gone round in her school stuff
|
|||
|
Bet that’s what he likes
|
|||
|
I know you thought she was different
|
|||
|
And you thought she was nice
|
|||
|
|
|||
|
But she’s not nice
|
|||
|
She’s pretty fucking far from nice
|
|||
|
She’s looking at you funny rarely
|
|||
|
Looking at you twice
|
|||
|
|
|||
|
Bigger boys and stolen sweethearts
|
|||
|
Oh, you’re better off without her anyway
|
|||
|
You said you wasn’t sad to see her go
|
|||
|
Yeah, but it’s clear you were, though
|
|||
|
|
|||
|
Have you heard what she has been doing?
|
|||
|
Never did it for me
|
|||
|
He picks her up at the school gates
|
|||
|
At twenty past three
|
|||
|
She’s been with all of the boys
|
|||
|
But never went very far
|
|||
|
And she wagged English and science
|
|||
|
Just to go in his car
|
|||
|
|
|||
|
They’ve got engaged
|
|||
|
Is no intention of a wedding
|
|||
|
He’s pinched me bird
|
|||
|
And he’d probably kick my head in
|
|||
|
|
|||
|
Oh, now the girls have grown
|
|||
|
Yeah, but I’m sure that they still carry
|
|||
|
On in similar ways
|
|||
|
|
|||
|
Bigger boys and stolen sweethearts
|
|||
|
Oh, I’m better off without her anyway
|
|||
|
I said I wasn’t sad to see her go
|
|||
|
Yeah, but I’m only pretending, you know
|
|||
|
Yeah, I’m only pretending, you know
|
|||
|
I was only pretending, you know
|
|||
|
I was only pretending, you know"
|
|||
|
16,Black Treacle ,"Lately I've been seeing things
|
|||
|
Belly button piercings
|
|||
|
In the sky, at night
|
|||
|
When we're side by side
|
|||
|
And I don't mean to rain
|
|||
|
On anybody's cabriolet
|
|||
|
One of those games
|
|||
|
You're gonna lose
|
|||
|
But you wanna play it
|
|||
|
Just in case
|
|||
|
|
|||
|
Now it's getting dark
|
|||
|
And the sky looks sticky
|
|||
|
More like black treacle than tar
|
|||
|
Black treacle
|
|||
|
Somebody told the stars
|
|||
|
You're not coming out tonight
|
|||
|
And so they found a place to hide
|
|||
|
|
|||
|
Does it help you stay up late
|
|||
|
Does it help you concentrate
|
|||
|
Does it tune you in
|
|||
|
When you chew your chin
|
|||
|
Am I ruining your fun
|
|||
|
|
|||
|
And you talk the talk alright
|
|||
|
But do you walk the walk
|
|||
|
Or catch the train
|
|||
|
You wanted it, you got it
|
|||
|
But you don't want it now
|
|||
|
|
|||
|
Now it's getting dark
|
|||
|
And the sky looks sticky
|
|||
|
More like black treacle than tar
|
|||
|
Black treacle
|
|||
|
Somebody told the stars
|
|||
|
You're not coming out tonight
|
|||
|
And so they found a place to hide
|
|||
|
|
|||
|
Now I'm out of place
|
|||
|
And I'm not getting any wiser
|
|||
|
I feel like the Sundance Kid
|
|||
|
Behind a synthesizer
|
|||
|
And I tried last night
|
|||
|
To pack away the laugh
|
|||
|
Like a key under the mat
|
|||
|
But it never seems to be there
|
|||
|
When you want it
|
|||
|
|
|||
|
Black treacle
|
|||
|
Black treacle
|
|||
|
Black treacle"
|
|||
|
17,Body Paint ,"[Verse 1]
|
|||
|
For a master of deception and subterfuge
|
|||
|
You've made yourself quite the bed, to lie in
|
|||
|
Do your time traveling through the tanning booth
|
|||
|
So you don't let the sun catch you crying
|
|||
|
|
|||
|
[Chorus]
|
|||
|
So predictable, I know what you're thinking
|
|||
|
|
|||
|
[Verse 2]
|
|||
|
My teeth are beating and my knees are weak
|
|||
|
It's as if there's something up with the wiring
|
|||
|
You can poke your head behind the mountain peak
|
|||
|
It don't have to mean that you've gone into hiding
|
|||
|
|
|||
|
[Chorus]
|
|||
|
So predictable I know what you're thinking
|
|||
|
|
|||
|
[Bridge]
|
|||
|
I'm watching your every move I feel the tears are coming on
|
|||
|
It won't be long
|
|||
|
It won't be long
|
|||
|
|
|||
|
[Refrain]
|
|||
|
Straight from the cover shoot
|
|||
|
There's still a trace of body paint
|
|||
|
On your legs and on your arms and on your face
|
|||
|
And I'm keeping on my costume
|
|||
|
And calling it a writing tool
|
|||
|
And if you're thinking of me
|
|||
|
I'm probably thinking of you
|
|||
|
|
|||
|
[Refrain]
|
|||
|
There's still a trace of body paint
|
|||
|
On your legs and on your arms and on your face
|
|||
|
There's still a trace of body paint
|
|||
|
On your legs and on your arms and on your face
|
|||
|
There's still a trace of body paint
|
|||
|
On your legs and on your arms and on your face
|
|||
|
There's still a trace of body paint
|
|||
|
On your legs and on your arms and on your face
|
|||
|
So predictable I know what you're thinking
|
|||
|
Ooh, hah, yeah"
|
|||
|
18,Brianstorm ,"Brian
|
|||
|
Top marks for not trying
|
|||
|
So kind of you to bless us
|
|||
|
With your effortlessness
|
|||
|
We're grateful and so strangely comforted
|
|||
|
|
|||
|
And I wonder
|
|||
|
Are you putting us under?
|
|||
|
'Cause we can't take our eyes
|
|||
|
Off the t-shirt and ties combination
|
|||
|
Well, see you later, innovator
|
|||
|
|
|||
|
Some want to kiss, some want to kick you
|
|||
|
There's not a net you couldn't slip through
|
|||
|
Or at least that's the impression I get
|
|||
|
'Cause you're smooth, and you're wet
|
|||
|
And she's not aware yet
|
|||
|
But she's yours
|
|||
|
|
|||
|
She'll be saying, ""Use me,
|
|||
|
Show me the jacuzzi""
|
|||
|
I imagine that it's there on a plate
|
|||
|
Your whole rendezvous rate
|
|||
|
Means that you'll never be frightened
|
|||
|
To make them wait for a while
|
|||
|
I doubt it's your style
|
|||
|
Not to get what you set out to acquire
|
|||
|
The eyes are on fire
|
|||
|
You are the unforecasted storm
|
|||
|
|
|||
|
(Brian) Calm, collected and commanding
|
|||
|
(Top marks for not trying)
|
|||
|
You leave the other stories standing
|
|||
|
With your renditions and jokes
|
|||
|
Bet there's hundreds of blokes
|
|||
|
That have wept 'cause you've stolen their
|
|||
|
Thunder
|
|||
|
|
|||
|
Are you putting us under?
|
|||
|
'Cause we can't take our eyes
|
|||
|
Off the t-shirt and ties combination
|
|||
|
Well, see you later, innovator"
|
|||
|
19,Brick By Brick ,"I wanna build you up
|
|||
|
Brick by brick
|
|||
|
I wanna break you down
|
|||
|
Brick by brick
|
|||
|
I'm gonna reconstruct
|
|||
|
Brick by brick
|
|||
|
I wanna feel your love
|
|||
|
|
|||
|
Brick by brick
|
|||
|
(oooh-oh)
|
|||
|
Brick by brick
|
|||
|
(oooh-oh)
|
|||
|
|
|||
|
I wanna steal your soul
|
|||
|
Brick by brick
|
|||
|
I wanna rock 'n' roll
|
|||
|
Brick by brick
|
|||
|
I wanna rock 'n' roll
|
|||
|
Brick by brick
|
|||
|
I wanna rock 'n' roll
|
|||
|
|
|||
|
Brick by brick
|
|||
|
(oooh-oh)
|
|||
|
Brick by brick
|
|||
|
(oooh-oh)
|
|||
|
|
|||
|
I wanna brick by brick
|
|||
|
Brick by brick
|
|||
|
I wanna blow by blow
|
|||
|
Brick by brick
|
|||
|
I want an episode
|
|||
|
Brick by brick
|
|||
|
|
|||
|
I wanna brick by brick by brick by
|
|||
|
|
|||
|
Brick by brick
|
|||
|
(oooh-oh)
|
|||
|
Brick by brick
|
|||
|
(ooh-oh)
|
|||
|
Brick by brick
|
|||
|
(ooh-oh)
|
|||
|
Brick by brick
|
|||
|
(ooh-oh)"
|
|||
|
20,Catapult ,"Both sides
|
|||
|
In softly came the growl from both sides
|
|||
|
And if his whisper splits the mist
|
|||
|
Just think of what he's capable of with his kiss
|
|||
|
|
|||
|
Nice try,
|
|||
|
You cannot turn away, but nice try
|
|||
|
He'll turn your legs to little building blocks and with his index finger flicks you on your socks
|
|||
|
|
|||
|
I go high pitched
|
|||
|
He'll talk and make you voice sound high pitched
|
|||
|
Dread to think if he got you on your own and whispered in your ear in that baritone
|
|||
|
|
|||
|
It's the same stone
|
|||
|
His heart was cut out of the same stone that they used to carve his jaw
|
|||
|
It's impossible not to feel inferior
|
|||
|
|
|||
|
And he could catapult you back to your daddy or into any hissing misery
|
|||
|
And he will tell you how the day after a triumph is as hollow as the day after a tragedy
|
|||
|
He'll extinguish any chance of escape when he slaps you on your arse or kisses your nape
|
|||
|
And he's leaving without saying 'bye'
|
|||
|
|
|||
|
And they would queue up to listen to him pissing and hang around to watch some poor girl blub
|
|||
|
And then they'd chase him down the avenue incessantly pestering him to let him join the club
|
|||
|
He knows how to put a cork in the fuss and just how to shut up the charming ones of us
|
|||
|
|
|||
|
And I've seen him talking to your lady friend
|
|||
|
|
|||
|
There's a dust track waiting for betrayal where he'll teach you all the bits they missed
|
|||
|
|
|||
|
Nice try, you cannot turn away, but nice try
|
|||
|
Nice try, you cannot turn away, but nice try
|
|||
|
Nice try, you cannot turn away, but nice try
|
|||
|
Nice try, you cannot turn away, but nice try
|
|||
|
|
|||
|
You cannot turn away"
|
|||
|
21,Choo Choo ,"My baby wants to drive the train
|
|||
|
But don't you let her, don't you let her touch the tracks
|
|||
|
I said my baby wants to drive the train
|
|||
|
Well all aboard yeah, and don't forget to mind the gap
|
|||
|
Don't you let her, don't you know
|
|||
|
She's sick and tired of
|
|||
|
Being in the background, the passenger
|
|||
|
Let her drive the train, oh!
|
|||
|
|
|||
|
Choo Choo!
|
|||
|
Why don't you let her drive the train?
|
|||
|
Choo Choo!
|
|||
|
Why don't you let her drive the train, yeah
|
|||
|
|
|||
|
She's setting off from platform four
|
|||
|
Make your way down, we'll shut the door bout quarter to five
|
|||
|
I said she's setting off from platform four
|
|||
|
And they've decided that they're gonna let her drive
|
|||
|
|
|||
|
Don't you let her, don't you know
|
|||
|
She's sick and tired of
|
|||
|
Being in the background, the passenger
|
|||
|
Let her drive the train, oh!
|
|||
|
|
|||
|
Choo Choo!
|
|||
|
Why don't you let her drive the train, oh...
|
|||
|
Choo Choo!
|
|||
|
Why don't you let her drive my train, yeah
|
|||
|
|
|||
|
Choo Choo!
|
|||
|
Choo Choo!
|
|||
|
Choo Choo!
|
|||
|
Choo Choo!"
|
|||
|
22,Cigarette Smoke ,"Get out the way, mister
|
|||
|
With your short sharp tips
|
|||
|
No, I won't read your lips right now
|
|||
|
And baby, hey
|
|||
|
You send a shiver down my spine
|
|||
|
But do you read my mind
|
|||
|
Do you...
|
|||
|
And you're looking pretty suspicious
|
|||
|
And probably planning a heist
|
|||
|
He's wanting to go to the strippers
|
|||
|
It makes him feel all nice
|
|||
|
|
|||
|
(Cigarette smoke yeah)
|
|||
|
The cigarette smoke in your eyes
|
|||
|
Watching a stripper and
|
|||
|
(Smacking a bloke yeah)
|
|||
|
Smacking a bloke here tonight
|
|||
|
|
|||
|
Get out the way, mister
|
|||
|
With your short sharp tips
|
|||
|
No, I won't read your lips right now
|
|||
|
And baby, hey
|
|||
|
You send a shiver down my spine
|
|||
|
But do you read my mind
|
|||
|
Do you...
|
|||
|
|
|||
|
He's prob'ly got stopped by a panda
|
|||
|
For speeding on his way there
|
|||
|
A formal flashing of digital cameras
|
|||
|
From tourists in trafalgar square
|
|||
|
|
|||
|
(Cigarette smoke yeah)
|
|||
|
The cigarette smoke in your eyes
|
|||
|
Watching a stripper and
|
|||
|
(Snortin' some coke yeah)
|
|||
|
Snortin' some coke off her thighs
|
|||
|
Bla-bla-bla-bla-bla-bla...
|
|||
|
|
|||
|
(Cigarette smoke yeah)
|
|||
|
The cigarette smoke in your eyes
|
|||
|
Watching a stripper and
|
|||
|
(Smacking a bloke yeah)
|
|||
|
Smacking a bloke here tonight
|
|||
|
And I just can't see for the
|
|||
|
(Cigarette smoke yeah)
|
|||
|
The cigarette smoke in your eyes
|
|||
|
Watching a stripper and
|
|||
|
(Snortin' some coke yeah)
|
|||
|
Snortin' some coke off her thighs
|
|||
|
Lalalalalala laaaaaaaoooo
|
|||
|
Oww"
|
|||
|
23,Cigarette Smoker Fiona ,"Sat at the side of the pool at one of your houses
|
|||
|
With wet white trousers on
|
|||
|
And worlds collide as the evening continues
|
|||
|
The dignity fucks off
|
|||
|
|
|||
|
Her brother's gone off to the strippers
|
|||
|
To make up for all the lost time
|
|||
|
She could have been one of the bitches
|
|||
|
But she's actually alright
|
|||
|
|
|||
|
(Cigarette smoker)
|
|||
|
I'm sorry, but we're all unsure
|
|||
|
How much you've had but
|
|||
|
(We think that you oughta) maybe not have any more
|
|||
|
|
|||
|
A country home, even if we really tried
|
|||
|
What if it's just surprises now?
|
|||
|
And I bet your dad would like to give us all a slap
|
|||
|
When are your parents back? D'you know?
|
|||
|
|
|||
|
Well I never came from no ghetto
|
|||
|
But it wasn't nowhere near here
|
|||
|
Well-spoken girls in stilettos
|
|||
|
Aren't something to fear
|
|||
|
|
|||
|
(Cigarette smoker)
|
|||
|
I'm sorry, but we're all unsure
|
|||
|
How much you've had but
|
|||
|
(We think that you oughta) maybe not have any more
|
|||
|
|
|||
|
(Cigarette smoker)
|
|||
|
I'm sorry, but we're all unsure
|
|||
|
How much you've had but
|
|||
|
(We think that you oughta) maybe not have any more
|
|||
|
|
|||
|
(Cigarette smoker)
|
|||
|
Cigarette smoke doesn't hide
|
|||
|
As well as you think
|
|||
|
And you'd think that it oughta
|
|||
|
Act as the perfect disguise"
|
|||
|
24,Come Together ,"Here come old flattop he come grooving up slowly
|
|||
|
He got joo-joo eyeball he one holy roller
|
|||
|
He got hair down to his knee
|
|||
|
Got to be a joker he just do what he please.
|
|||
|
|
|||
|
He wear no shoeshine he got toe-jam football
|
|||
|
He got monkey finger he shoot coca-cola
|
|||
|
He say ""I know you, you know me""
|
|||
|
One thing I can tell you is you got to be free
|
|||
|
Come together right now over me.
|
|||
|
|
|||
|
He bag production he got walrus gumboot
|
|||
|
He got Ono sideboard he one spinal cracker
|
|||
|
He got feet down below his knee
|
|||
|
Hold you in his armchair you can feel his disease
|
|||
|
Come together right now over me.
|
|||
|
|
|||
|
Come together
|
|||
|
Come together
|
|||
|
Come together"
|
|||
|
25,Cornerstone ,"I thought I saw you in The Battleship
|
|||
|
But it was only a lookalike
|
|||
|
She was nothing but a vision trick
|
|||
|
Under the warning light
|
|||
|
She was close, close enough to be your ghost
|
|||
|
But my chances turned to toast
|
|||
|
When I asked her if I could call her your name
|
|||
|
|
|||
|
I thought I saw you in The Rusty Hook
|
|||
|
Huddled up in wicker chair
|
|||
|
I wandered over for a closer look
|
|||
|
And kissed who ever was sitting there
|
|||
|
|
|||
|
She was close, and she held me very tightly
|
|||
|
Till I asked awfully politely: ""Please
|
|||
|
Can I call you her name?""
|
|||
|
|
|||
|
And I elongated my lift home,
|
|||
|
Yeah I let him go the long way round
|
|||
|
I smelt your scent on the seatbelt
|
|||
|
And kept my short cuts to myself
|
|||
|
|
|||
|
I thought I saw you in The Parrot's Beak
|
|||
|
Messing with the smoke alarm
|
|||
|
It was too loud for me to hear her speak
|
|||
|
And she had a broken arm
|
|||
|
|
|||
|
It was close, so close that the walls were wet
|
|||
|
And she wrote it out in Letraset
|
|||
|
""No, you can't call me her name""
|
|||
|
|
|||
|
Tell me where's your hiding place
|
|||
|
I'm worried I'll forget your face
|
|||
|
And I've asked everyone
|
|||
|
And I'm beginning to think I imagined you all along
|
|||
|
|
|||
|
I elongated my lift home
|
|||
|
Yeah I let him go the long way round
|
|||
|
I smelt your scent on the seatbelt
|
|||
|
And kept my short cuts to myself
|
|||
|
|
|||
|
I saw your sister in the Cornerstone
|
|||
|
On the phone to the middle man
|
|||
|
When I saw that she was on her own
|
|||
|
I thought she might understand
|
|||
|
She was close, well you couldn't get much closer
|
|||
|
She said ""I'm really not supposed to but yes,
|
|||
|
You can call me anything you want"""
|
|||
|
26,Crying Lightning ,"Outside the cafe by the cracker factory
|
|||
|
You were practicing a magic trick
|
|||
|
And my thoughts got rude, as you talked and chewed
|
|||
|
On the last of your pick and mix
|
|||
|
|
|||
|
Said your mistaken if your thinking that I haven't been called cold before
|
|||
|
As you bit into your strawberry lace
|
|||
|
And then offered me your attention in the form of a gobstopper
|
|||
|
Is all you have left and it was going to waste
|
|||
|
|
|||
|
Your past-times, consisted of the strange
|
|||
|
And twisted and deranged
|
|||
|
And I love that little game you had called
|
|||
|
Crying lightning
|
|||
|
And how you like to aggravate the ice-cream man on rainy afternoons
|
|||
|
|
|||
|
The next time that I caught my own reflection
|
|||
|
It was on it's way to meet you
|
|||
|
Thinking of excuses to postpone
|
|||
|
You never look like yourself from the side
|
|||
|
But your profile did not hide
|
|||
|
The fact you knew I was approaching your throne
|
|||
|
|
|||
|
With folded arms you occupy the bench like toothache
|
|||
|
Stood and puff your chest out like you never lost a war
|
|||
|
And though I try so not to suffer the indignity of a reaction
|
|||
|
There was no cracks to grasp or gaps to claw
|
|||
|
|
|||
|
And your past-times, consisted of the strange
|
|||
|
And twisted and deranged
|
|||
|
And I hate that little game you had called
|
|||
|
Crying lightning
|
|||
|
And how you like to aggravate the icky man on rainy afternoons
|
|||
|
|
|||
|
Uninviting
|
|||
|
But not half as impossible as everyone assumes
|
|||
|
You are crying lightning
|
|||
|
|
|||
|
Your past-times, consisted of the strange
|
|||
|
And twisted and deranged
|
|||
|
And I hate that little game you had called
|
|||
|
Crying lightning
|
|||
|
Crying lightning
|
|||
|
Crying lightning
|
|||
|
Crying lightning
|
|||
|
|
|||
|
Your past-times, consisted of the strange
|
|||
|
And twisted and deranged
|
|||
|
And I hate that little game you had called
|
|||
|
Crying"
|
|||
|
27,Curtains Close ,"I said I wanted it long but she cut it short
|
|||
|
And now I'm catching a cold
|
|||
|
I told you not but no crack in the doobie
|
|||
|
But it was already rolled
|
|||
|
|
|||
|
Oh, I turned down my lights
|
|||
|
And my curtains weren't closed
|
|||
|
I turned down my lights
|
|||
|
And my curtains weren't closed
|
|||
|
Oh when I turned down my lights
|
|||
|
And my curtains weren't closed last night
|
|||
|
Oh baby, I must be mad
|
|||
|
|
|||
|
Well, I don't care about your massage oils
|
|||
|
It's got my skin going red
|
|||
|
Cause I'm a mad mother-fucker
|
|||
|
With my curtains open
|
|||
|
Sitting tucked up in bed
|
|||
|
|
|||
|
I turned down my lights
|
|||
|
And my curtains weren't closed
|
|||
|
I turned down my lights
|
|||
|
And my curtains weren't closed
|
|||
|
Oh when I turned down my lights
|
|||
|
And my curtains weren't closed last night
|
|||
|
Oh baby, I must be mad
|
|||
|
|
|||
|
I turned down my lights
|
|||
|
And my curtains weren't closed
|
|||
|
Oh well, I turned down my lights
|
|||
|
And my curtains weren't closed
|
|||
|
Oh when I turned down my lights
|
|||
|
And my curtains weren't closed last night
|
|||
|
Oh baby, I must be mad"
|
|||
|
28,D is for Dangerous ,"He knew what he wanted to say
|
|||
|
But he did not want to word it
|
|||
|
The dirty little Herbert
|
|||
|
Was thinking an escape
|
|||
|
But the place was well guarded
|
|||
|
The guiltiness that started
|
|||
|
Soon as the other part had stopped
|
|||
|
|
|||
|
D is for Delightful
|
|||
|
And try and keep your trousers on
|
|||
|
I think you should know you're his favourite worst nightmare
|
|||
|
|
|||
|
D is for desperately trying to stimulate
|
|||
|
What it was that was alright
|
|||
|
Three quarters of an hour ago
|
|||
|
That had led him to be in a position
|
|||
|
On the brink of a mission
|
|||
|
On the brink of an episode
|
|||
|
|
|||
|
He's nearing the brink but he thinks first
|
|||
|
The parallel universe perhaps could be the perfect scene
|
|||
|
He's nearing the brink but he thinks first
|
|||
|
The parallel universe perhaps could be the perfect scene
|
|||
|
He's nearing the brink but he thinks first
|
|||
|
The parallel universe perhaps could be the perfect scene
|
|||
|
He's nearing the brink but he thinks first, the parallel
|
|||
|
I think you should know you're his favourite worst nightmare
|
|||
|
|
|||
|
D is for Delightful
|
|||
|
And try and keep your trousers on
|
|||
|
You should know you're his favourite worst nightmare"
|
|||
|
29,Da Frame 2R ,"007 and Brucey Wayne,
|
|||
|
Are shitting themselves because there's another name,
|
|||
|
Coming to claim what is his to claim,
|
|||
|
10% faster with a sturdier frame,
|
|||
|
He's certainly come into his own,
|
|||
|
There's one on is arm in every land that he roams,
|
|||
|
And two consecutive nights alone,
|
|||
|
Are a thing of the past as he has recently shown
|
|||
|
|
|||
|
They said he looks so handsome,
|
|||
|
Stood not dancing,
|
|||
|
Drawing you in like it's boring to him,
|
|||
|
It's a war you can't win and the first and the last are two thing's you'll never be my darling,
|
|||
|
|
|||
|
Another run around and another push and shove,
|
|||
|
Further away from the idea of love,
|
|||
|
And his conclusion it must be good,
|
|||
|
Or when the penny has dropped with an incredible thud,
|
|||
|
Forgot to kick the tin,
|
|||
|
He knows where she's going but dunt' know where she's been,
|
|||
|
And there's the plus of the other thing,
|
|||
|
He'll worry about it when it's trouble he's in,
|
|||
|
|
|||
|
They said he looks so handsome,
|
|||
|
Stood not dancing,
|
|||
|
Drawing you in like it's boring to him,
|
|||
|
It's a war you can't win and the first and the last are two thing's you'll never be my darling,
|
|||
|
Thing's you'll never be my darling,
|
|||
|
(Thing's you'll never be my darling)
|
|||
|
Two thing's you will never be my darling,
|
|||
|
(Thing's you'll never be my darling)
|
|||
|
|
|||
|
Well he sneered and sniffed and spat at my chat up lines,
|
|||
|
Not to feel like a twat at times, is hard,
|
|||
|
But not for this kid, not when they come to you"
|
|||
|
30,Dance Little Liar ,"I heard the truth was built to bend.
|
|||
|
A mechanism to suspend the guilt is what you will require
|
|||
|
and still you've got to dance little liar
|
|||
|
|
|||
|
It's just like those fibs to pop and fizz
|
|||
|
and you'll be forced to take that awful quiz
|
|||
|
and you're bound to trip and she'll detect the fiction on your lips
|
|||
|
and dig a contradiction up
|
|||
|
|
|||
|
And the clean coming will hurt
|
|||
|
and you can never get it spotless
|
|||
|
when there's dirt beneath the dirt
|
|||
|
The liar takes a lot less time
|
|||
|
|
|||
|
I'm sure it's clear and plain to read
|
|||
|
It's not an alibi you need just yet
|
|||
|
Oh no, it's something for those beads of sweat,
|
|||
|
yes that will get you back to normal
|
|||
|
|
|||
|
And after you have dabbed the patch
|
|||
|
you'll breathe and then proceed to scratch the varnish off that newly
|
|||
|
added calmness so as not to raise any alarms too soon
|
|||
|
|
|||
|
The liar takes a lot less time to decide on the saunter
|
|||
|
Have you got itchy bones and in all your time alone
|
|||
|
can you hack your mind being riddled with the wrong memories?
|
|||
|
|
|||
|
And the clean coming will hurt
|
|||
|
and you can never get it spotless
|
|||
|
When there's dirt between the dirt"
|
|||
|
31,Dancing Shoes ,"Get on your dancing shoes
|
|||
|
There's one thing on your mind
|
|||
|
Hoping they're looking for you
|
|||
|
Sure you'll be rummagin' through
|
|||
|
|
|||
|
Oh and the shit, shock, horror
|
|||
|
You've seen your future bride
|
|||
|
Yea, but it's oh so absurd
|
|||
|
For you to say the first word
|
|||
|
So you're waitin'n'waitin'n
|
|||
|
|
|||
|
The only reason that you came
|
|||
|
So what ya scared for?
|
|||
|
Well don't you always do the same
|
|||
|
It's what ya there for, don't ya know..
|
|||
|
|
|||
|
The lights are flashing
|
|||
|
Down in here tonight
|
|||
|
And some might exchange a glance
|
|||
|
But keep pretending to dance
|
|||
|
|
|||
|
Don't act like it's not happening
|
|||
|
As if it's impolite
|
|||
|
To go and mention your name
|
|||
|
Instead you'll just do the same
|
|||
|
As they all do, and hope for the best
|
|||
|
|
|||
|
The only reason that you came
|
|||
|
So what ya scared for?
|
|||
|
Well don't ya always do the same
|
|||
|
It's what ya there for, but no
|
|||
|
|
|||
|
Get on your dancing shoes
|
|||
|
You sexy little swine
|
|||
|
Hoping they're looking for you
|
|||
|
Sure you'll be rumagin' through
|
|||
|
|
|||
|
And a said the shit, shock, horror
|
|||
|
You've seen your future bride
|
|||
|
Oh, but it's oh so absurd
|
|||
|
For you to say the first word
|
|||
|
So you're waitin'n'waitin...!"
|
|||
|
32,Dangerous Animals ,"Pinned down by the dark
|
|||
|
|
|||
|
Been fighting with my sheets and nearly crying in my sleep
|
|||
|
Yes I'm battling that well told gripe
|
|||
|
The most frustrating type
|
|||
|
You should have racing stripes the way you keep me in pursuit
|
|||
|
Sharpen the heel of your boot and you press it in my chest
|
|||
|
And you make me wheeze
|
|||
|
Then to my knees you do promote me
|
|||
|
|
|||
|
I'm pinned down by the dark
|
|||
|
A-N-I-M-A-L
|
|||
|
Makes my head pirouette more than I would be willing to confess
|
|||
|
D-A-N-G-E-R-O-U-S
|
|||
|
|
|||
|
The light it fidgets through, the thoughts will soon revert to you
|
|||
|
About as bashful as a tribal dance
|
|||
|
The first and final chance
|
|||
|
And cause the audience of the frighteners and fiends
|
|||
|
Divided up into two teams
|
|||
|
When the acrobat fell off the beam she broke everyone's heart
|
|||
|
|
|||
|
I'm pinned down by the dark
|
|||
|
A-N-I-M-A-L
|
|||
|
Makes my head pirouette more than I would be willing to confess
|
|||
|
D-A-N-G-E-R-O-U-S
|
|||
|
D-A-N-G-E-R-O-U-S
|
|||
|
The most unsuitable pet, it's been long enough now, so let's make a mess lioness
|
|||
|
|
|||
|
Pinned down by the dark
|
|||
|
I'm pinned down by the dark
|
|||
|
|
|||
|
D-A-N-G-E-R-O-U-S
|
|||
|
A-N-I-M-A-L
|
|||
|
D-A-N-G-E-R-O-U-S
|
|||
|
A-N-I-M-A-L"
|
|||
|
33,Despair In The Departure Lounge ,"He's pining for her
|
|||
|
In a people carrier
|
|||
|
There might be buildings and pretty things to see like that
|
|||
|
But architecture won't do
|
|||
|
Although it might say a lot about the city or town
|
|||
|
I don't care what they've got keep on turning them down
|
|||
|
It don't say the funny things she does
|
|||
|
Don't even try and cheer him up, because
|
|||
|
It just won't happen
|
|||
|
|
|||
|
He's got the feeling again
|
|||
|
This time on the aeroplane
|
|||
|
There might be tellys in the back of the seats in front
|
|||
|
But Rodney and Del won't do
|
|||
|
Although it might take your mind off the aches and the pains
|
|||
|
Laugh when he falls through the bar
|
|||
|
But you're feeling the same
|
|||
|
'Cause she isn't there to hold your hand
|
|||
|
She won't be waiting for you when you land
|
|||
|
|
|||
|
It feels like she's just nowhere near
|
|||
|
You could well be out on your ear
|
|||
|
This thought comes closely followed by the fear
|
|||
|
And the thought of it
|
|||
|
Makes you feel a bit
|
|||
|
Ill
|
|||
|
|
|||
|
Yesterday I saw a girl
|
|||
|
Who looked like someone you might knock about with
|
|||
|
And almost shouted
|
|||
|
And then reality kicked in within us
|
|||
|
It seems as we become the winners
|
|||
|
You lose a bit of summat
|
|||
|
And half wonder if you won it at all
|
|||
|
|
|||
|
And don't say 'owt 'cause you've got no idea
|
|||
|
And she's still nowhere near
|
|||
|
This thought comes closely followed by the fear
|
|||
|
And the thought of it
|
|||
|
Makes you feel a bit
|
|||
|
Ill
|
|||
|
|
|||
|
Despair in the departure lounge
|
|||
|
It's one and they'll still be around at three
|
|||
|
No signal and low battery
|
|||
|
What's happened to me?"
|
|||
|
34,Diamonds are forever ,"Diamonds are forever,
|
|||
|
They are all I need to please me,
|
|||
|
They can stimulate and tease me,
|
|||
|
They won't leave in the night,
|
|||
|
I've no fear that they might desert me.
|
|||
|
|
|||
|
Diamonds are forever,
|
|||
|
Hold one up and then caress it,
|
|||
|
Touch it, stroke it and undress it,
|
|||
|
I can see every part,
|
|||
|
Nothing hides in the heart to hurt me.
|
|||
|
|
|||
|
I don't need love,
|
|||
|
For what good will love do me?
|
|||
|
|
|||
|
Diamonds never lie to me,
|
|||
|
For when love's gone,
|
|||
|
They'll luster on.
|
|||
|
|
|||
|
|
|||
|
Diamonds are forever,
|
|||
|
Sparkling round my little finger.
|
|||
|
Unlike men, the diamonds linger;
|
|||
|
Men are mere mortals who
|
|||
|
Are not worth going to your grave for.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
I don't need love,
|
|||
|
For what good will love do me?
|
|||
|
Diamonds never lie to me,
|
|||
|
For when love's gone,
|
|||
|
They'll luster on.
|
|||
|
|
|||
|
|
|||
|
|
|||
|
Diamonds are forever, forever, forever.
|
|||
|
Diamonds are forever, forever, forever.
|
|||
|
Forever and ever."
|
|||
|
35,Do I Wanna Know ,"Have you got colour in your cheeks?
|
|||
|
Do you ever get that fear that you can't shift
|
|||
|
The type that sticks around like summat* in your teeth?
|
|||
|
Are there some aces up your sleeve?
|
|||
|
Have you no idea that you're in deep?
|
|||
|
I've dreamt about you nearly every night this week
|
|||
|
How many secrets can you keep?
|
|||
|
'Cause there's this tune I found
|
|||
|
That makes me think of you somehow
|
|||
|
And I play it on repeat
|
|||
|
Until I fall asleep spilling drinks on my settee
|
|||
|
|
|||
|
(Do I wanna know)
|
|||
|
If this feeling flows both ways?
|
|||
|
(Sad to see you go)
|
|||
|
Was sorta hoping that you'd stay
|
|||
|
(Baby we both know)
|
|||
|
That the nights were mainly made for saying things
|
|||
|
That you can't say tomorrow day
|
|||
|
|
|||
|
Crawling back to you
|
|||
|
Ever thought of calling when you've had a few?
|
|||
|
'Cause I always do
|
|||
|
Maybe I'm too
|
|||
|
Busy being yours to fall for somebody new
|
|||
|
Now I've thought it through
|
|||
|
Crawling back to you
|
|||
|
|
|||
|
So have you got the guts?
|
|||
|
Been wondering if your heart's still open
|
|||
|
And if so I wanna know what time it shuts
|
|||
|
Simmer down and pucker up
|
|||
|
I'm sorry to interrupt
|
|||
|
It's just I'm constantly on the cusp
|
|||
|
Of trying to kiss you
|
|||
|
I don't know if you feel the same as I do
|
|||
|
But we could be together if you wanted to
|
|||
|
|
|||
|
(Do I wanna know)
|
|||
|
If this feeling flows both ways?
|
|||
|
(Sad to see you go)
|
|||
|
Was sorta hoping that you'd stay
|
|||
|
(Baby we both know)
|
|||
|
That the nights were mainly made for saying things
|
|||
|
That you can't say tomorrow day
|
|||
|
|
|||
|
Crawling back to you (crawling back to you)
|
|||
|
Ever thought of calling when you've had a few? (you've had a few)
|
|||
|
'Cause I always do ('cause I always do)
|
|||
|
Maybe I'm too (maybe I'm too busy)
|
|||
|
Busy being yours to fall for somebody new (busy...)
|
|||
|
Now I've thought it through
|
|||
|
Crawling back to you
|
|||
|
|
|||
|
(Do I wanna know)
|
|||
|
If this feeling flows both ways?
|
|||
|
(Sad to see you go)
|
|||
|
Was sorta hoping that you'd stay
|
|||
|
(Baby we both know)
|
|||
|
That the nights were mainly made for saying things
|
|||
|
That you can't say tomorrow day
|
|||
|
|
|||
|
(Do I wanna know?)
|
|||
|
Too busy being yours to fall
|
|||
|
(Sad to see you go)
|
|||
|
Ever thought of calling darling?
|
|||
|
(Do I wanna know?)
|
|||
|
Do you want me crawling back to you?
|
|||
|
|
|||
|
|
|||
|
|
|||
|
* “Summat” is Yorkshire slang for “something.”"
|
|||
|
36,Do me a favour ,"Well the mourning was complete
|
|||
|
There was tears on the steering wheel dripping on the seat
|
|||
|
Several hours or several weeks
|
|||
|
I'd have the cheek to say they're equally as bleak
|
|||
|
|
|||
|
It's the beginning of the end, the car went up the hill
|
|||
|
And disappeared around the bend, ask anyone they'll tell you that
|
|||
|
It's these times that it tends
|
|||
|
To start to breaking off, to start to fall apart
|
|||
|
Hold on to your heart
|
|||
|
|
|||
|
Do me a favour and break my nose
|
|||
|
Do me a favour and tell me to go away
|
|||
|
Do me a favour and stop asking questions
|
|||
|
|
|||
|
She walked away, well her shoes were untied
|
|||
|
And the eyes were all red
|
|||
|
You could see that we'd cried, and I watched and I waited
|
|||
|
'Till she was inside, forcing a smile and waving goodbye
|
|||
|
|
|||
|
Curiousity becomes a heavy load
|
|||
|
Too heavy to hold, too heavy to hold
|
|||
|
Curiousity becomes a heavy load
|
|||
|
Too heavy to hold, will force you to be cold
|
|||
|
|
|||
|
And do me a favour, and ask if you need some help
|
|||
|
She said, do me a favour and stop flattering yourself
|
|||
|
And to tear apart the ties that bind, perhaps fuck off might be too kind
|
|||
|
Perhaps fuck off might be too kind"
|
|||
|
37,Don't Forget Whose Legs You're On ,"The painted faces congregate
|
|||
|
In the mating season
|
|||
|
To second homes
|
|||
|
They go alone
|
|||
|
In no rush leave 'em
|
|||
|
And there's a fountain
|
|||
|
And a scimitar
|
|||
|
Shaped yellow light
|
|||
|
And it picks you up
|
|||
|
And cuts you down to size
|
|||
|
|
|||
|
The people there
|
|||
|
And the furniture
|
|||
|
Start to seem important
|
|||
|
And a whole lot more
|
|||
|
You catch the floor
|
|||
|
With a vivid and absortant sharpened arc
|
|||
|
Like the scimitar
|
|||
|
Shaped yellow light
|
|||
|
That picks you up
|
|||
|
And cuts you down to size
|
|||
|
|
|||
|
Oh I had questions for the tap dancer
|
|||
|
Sat on my lap
|
|||
|
And she had child-proof caps on her answers
|
|||
|
Stolen blower blow me a stone
|
|||
|
And show me that handsome enhancer
|
|||
|
She had a rock on her throttle
|
|||
|
And a brown glass bottle full of
|
|||
|
Shavings from the sun
|
|||
|
Although those shoes affect your step
|
|||
|
Don't forget whose legs you're on
|
|||
|
|
|||
|
There's a fountain and a scimitar
|
|||
|
Shaped yellow light
|
|||
|
And it picks you up
|
|||
|
And cuts you down to size"
|
|||
|
38,Don't Sit Down 'Cause I've Moved Your Chair ,"Break a mirror, roll the dice
|
|||
|
Run with scissors through a chip pan fire fight
|
|||
|
Go into business with a grizzly bear
|
|||
|
But just don’t sit down cause I’ve moved your chair
|
|||
|
|
|||
|
Find a well known hard man and start a fight
|
|||
|
Wear your shell suit on bonfire night
|
|||
|
Fill in a circular hole with a peg that’s square
|
|||
|
But just don’t sit down cause I’ve moved your chair
|
|||
|
|
|||
|
Oooh yeah yeah yeah
|
|||
|
|
|||
|
Bite the lightning and tell me how it tastes
|
|||
|
Kung fu fighting on your rollerskates
|
|||
|
Do the macarena in the devil’s lair
|
|||
|
But just don’t sit down cause I’ve moved your chair
|
|||
|
|
|||
|
Oooh yeah yeah yeah"
|
|||
|
39,Electricity ,"Darlin’, tell me something I don’t know
|
|||
|
Be my baby, be my GTO
|
|||
|
Call me something no one else calls me
|
|||
|
I forget how I want it, that electricity
|
|||
|
|
|||
|
Well, my heart was breaking and got left unlocked
|
|||
|
Didn’t see you sneak in, but I’m glad you stopped
|
|||
|
Tell me something I don’t already know
|
|||
|
Like how'd you get your kisses to fill me with electricity?
|
|||
|
|
|||
|
Love like locked horns, love like dominos
|
|||
|
Be my midnight, be my ebb and flow
|
|||
|
I forget how I want it, how it crept up on me
|
|||
|
It takes over, electricity
|
|||
|
|
|||
|
And my heart was breaking and got left unlocked
|
|||
|
Didn’t see you sneak in, but I’m glad you stopped
|
|||
|
Tell me something I don’t already know
|
|||
|
Like how'd you get your kisses to fill me with electricity?
|
|||
|
|
|||
|
Separated, there I face it
|
|||
|
Love like thunder, love like falling snow
|
|||
|
|
|||
|
Tell me something I don’t already know
|
|||
|
Like how'd you get your kisses to fill me with electricity?"
|
|||
|
40,Evil Twin ,"You've never met before
|
|||
|
But still she greets you like a long lost rock and roll
|
|||
|
She's definitely one of those
|
|||
|
But you'll go wherever she goes
|
|||
|
|
|||
|
And when my body and my mind
|
|||
|
Both start talking at the exact same time
|
|||
|
Trying to think of ways to make her mine
|
|||
|
But they're difficult to find
|
|||
|
|
|||
|
It's not what I need
|
|||
|
No, your love's not what I need
|
|||
|
So don't give it to me
|
|||
|
|
|||
|
And she said: ""Oh, well I knew this will sound cold
|
|||
|
But I really have to go
|
|||
|
Oh, it's not that I'm not free
|
|||
|
There's nowhere I need to be
|
|||
|
It's just your love's not what I need
|
|||
|
So don't give it to me""
|
|||
|
|
|||
|
It's not what I need
|
|||
|
No, your love's not what I need
|
|||
|
So don't give it to me
|
|||
|
|
|||
|
She said: ""Baby, how can I believe you
|
|||
|
How can I believe you when you can't believe your luck?""
|
|||
|
No point sticking to the plan when it's going slow
|
|||
|
|
|||
|
It's more a hunger than a thirst
|
|||
|
You'll break it out the second time
|
|||
|
Before you know about the first
|
|||
|
Looks well-equipped to leave you in the lurch
|
|||
|
But you'll let her do her worst
|
|||
|
|
|||
|
And it's not hard to tell
|
|||
|
It's obvious the other angels' faces fell
|
|||
|
When she told them that she had to go
|
|||
|
Troubled wings and overcoat for something colorful
|
|||
|
Tha' knows
|
|||
|
|
|||
|
It's not what I need
|
|||
|
No, your love's not what I need
|
|||
|
So don't give it to me
|
|||
|
No, your love's not what I need
|
|||
|
So don't give it to me
|
|||
|
No, your love's not what I need
|
|||
|
So don't give it to me
|
|||
|
No, your love's not what I need
|
|||
|
So don't give it to me
|
|||
|
Your love's not what I need"
|
|||
|
41,Fake Tales Of San Francisco ,"Fake Tales of San Francisco
|
|||
|
Echo through the room
|
|||
|
More point to a wedding disco
|
|||
|
Without a bride or groom
|
|||
|
|
|||
|
There's a super cool band yeah
|
|||
|
With their trilbys and their glasses of white wine
|
|||
|
And all the weekend rock stars in the toilets
|
|||
|
Practicing their lines
|
|||
|
|
|||
|
I don't want to hear you
|
|||
|
(Kick me out, kick me out)
|
|||
|
I don't want to hear you know
|
|||
|
(Kick me out, kick me out) x2
|
|||
|
|
|||
|
Fake Tales of San Francisco
|
|||
|
Echo through the air
|
|||
|
And there's a few bored faces in the back
|
|||
|
All wishing they weren't there
|
|||
|
|
|||
|
And as the microphone squeaks
|
|||
|
A young girl's telephone beeps
|
|||
|
Yeah she's dashing for the exit
|
|||
|
she's running to the streets outside
|
|||
|
""Oh you've saved me,"" she screams down the line
|
|||
|
""The band was f**king wank
|
|||
|
And I'm not having a nice time""
|
|||
|
|
|||
|
I don't want to hear you
|
|||
|
(Kick me out, kick me out)
|
|||
|
I don't wanna hear, you know
|
|||
|
(Kick me out, kick me out)
|
|||
|
Yeah but his bird thinks it's amazing, though
|
|||
|
So all that's left
|
|||
|
Is the proof that love's not only blind but deaf
|
|||
|
|
|||
|
He talks of San Francisco, he's from Hunter's Bar
|
|||
|
I don't quite know the distance
|
|||
|
But I'm sure that's far
|
|||
|
I'm sure that's pretty far
|
|||
|
|
|||
|
I'd love to tell you all my problem
|
|||
|
You're not from New York City, you're from Rotherham
|
|||
|
So get off the bandwagon, and put down the handbook
|
|||
|
|
|||
|
Get off the bandwagon and put down the handbook"
|
|||
|
42,Feels Like We Only Go Backwards ,"It feels like I only go backwards, baby
|
|||
|
Every part of me says go ahead
|
|||
|
I got my hopes up again, no no, not again
|
|||
|
Feels like we only go backwards darling
|
|||
|
|
|||
|
I know that you think you sound silly when you call my name
|
|||
|
But I hear it inside my head all day
|
|||
|
Then I realize I'm just holding on to the hope that maybe your feelings don't show
|
|||
|
|
|||
|
It feels like I only go backwards, baby
|
|||
|
Every part of me says go ahead
|
|||
|
I got my hopes up again, no no, not again
|
|||
|
Feels like we only go backwards darling
|
|||
|
|
|||
|
Sea of all this indecision isn't me, oh no
|
|||
|
Cause I decided long ago if that's the way it seems to go
|
|||
|
We draw us apart to get to something real, it feels
|
|||
|
|
|||
|
It feels like I only go backwards, baby
|
|||
|
Every part of me says go ahead
|
|||
|
I got my hopes up again, no no, not again
|
|||
|
It feels like I only go backwards, baby
|
|||
|
It feels like I only go backwards, baby
|
|||
|
Every part of me says go ahead
|
|||
|
I got my hopes up again, no no, not again
|
|||
|
It feels like I only go backwards, baby"
|
|||
|
43,Fire And The Thud ,"You showed me my tomorrow
|
|||
|
Beside a box of matches
|
|||
|
A welcome threatening stir
|
|||
|
|
|||
|
My hopes of being stolen
|
|||
|
Might just ring true
|
|||
|
Depends who you prefer
|
|||
|
|
|||
|
But if it's true you're gonna run away
|
|||
|
Tell me where
|
|||
|
I'll meet you there
|
|||
|
|
|||
|
Am I snapping the excitement
|
|||
|
If I pack away the laguther
|
|||
|
And tell you how it feels
|
|||
|
|
|||
|
And does burden come to meet ya
|
|||
|
If I've questions of the feature that runs on your dream wheel
|
|||
|
|
|||
|
The day after you stole my heart,
|
|||
|
Everything I touched told me it would be better shared with you
|
|||
|
|
|||
|
And you're hiding in my soup
|
|||
|
And the book reveals your face
|
|||
|
And there's a splashing in my eyelids
|
|||
|
The concentration continually breaks
|
|||
|
|
|||
|
I did request the mark you cast
|
|||
|
Didn't heal as fast
|
|||
|
I hear your vioce in silences
|
|||
|
Will the teasing of the fire be followed by the thud?
|
|||
|
|
|||
|
And the jostling crowd
|
|||
|
You're not allowed to tell the truth
|
|||
|
And the photobooth's a liar
|
|||
|
And the sharpened explanations
|
|||
|
But theres no screaming reason to inquire
|
|||
|
I'd like to poke them in their prying eyes with things they never see if it smacks in their temples"
|
|||
|
44,Fireside ,"I can’t explain but I want to try
|
|||
|
There’s this image of you and I
|
|||
|
And it goes dancing by in the morning and in the night time
|
|||
|
There’s all these secrets that I can’t keep
|
|||
|
Like in my heart there’s that hotel suite
|
|||
|
And you lived there so long it’s kinda strange now you’re gone
|
|||
|
|
|||
|
I’m not sure if I should show you what I’ve found
|
|||
|
Has it gone for good or is it coming back around?
|
|||
|
Isn’t it hard to make up your mind
|
|||
|
When you’re losing and your fuse is fireside
|
|||
|
|
|||
|
There’s all those places we used to go
|
|||
|
And I suspect you already know
|
|||
|
But that place on Memory Lane you liked
|
|||
|
Still looks the same but something about it’s changed
|
|||
|
|
|||
|
I'm not sure if I should show you what I've found
|
|||
|
Has it gone for good or is it coming back around?
|
|||
|
Isn't it hard to make up your mind
|
|||
|
When you’re losing and your fuse is fireside
|
|||
|
|
|||
|
And I thought I was yours forever
|
|||
|
Maybe I was mistaken
|
|||
|
But I just cannot manage to make it through the day
|
|||
|
Without thinking of you lately
|
|||
|
|
|||
|
I’m not sure if I should show you what I’ve found
|
|||
|
Has it gone for good or is it coming back around?
|
|||
|
Isn’t it hard to make up your mind
|
|||
|
When you’re losing and your fuse is fireside"
|
|||
|
45,Fluorescent Adolescent ,"You used to get it in your fishnets
|
|||
|
Now you only get it in your night dress
|
|||
|
Discarded all the naughty nights for niceness
|
|||
|
Landed in a very common crisis
|
|||
|
Everything's in order in a black hole
|
|||
|
Nothing seems as pretty as the past though
|
|||
|
That Bloody Mary's lacking a tabasco
|
|||
|
Remember when you used to be a rascal?
|
|||
|
|
|||
|
Oh that boy's a slag
|
|||
|
The best you ever had
|
|||
|
The best you ever had
|
|||
|
Is just a memory and those dreams
|
|||
|
Weren't as daft as they seemed
|
|||
|
Not as daft as they seemed
|
|||
|
My love when you dreamed them up
|
|||
|
|
|||
|
Flicking through a little book of sex tips
|
|||
|
Remember when the boys were all electric?
|
|||
|
Now when she tells she's gonna get it
|
|||
|
I'm guessing that she'd rather just forget it
|
|||
|
Clinging to not getting sentimental
|
|||
|
Said she wasn't going but she went still
|
|||
|
Likes her gentlemen not to be gentle
|
|||
|
Was it a Mecca dauber or a betting pencil?
|
|||
|
|
|||
|
Oh that boy's a slag
|
|||
|
The best you ever had
|
|||
|
The best you ever had
|
|||
|
Is just a memory and those dreams
|
|||
|
Weren't as daft as they seemed
|
|||
|
Not as daft as they seemed
|
|||
|
My love when you dreamed them up
|
|||
|
|
|||
|
Oh, Flo, where did you go?
|
|||
|
Where did you go?
|
|||
|
Where did you go?
|
|||
|
|
|||
|
Falling about
|
|||
|
You took a left off Last Laugh Lane
|
|||
|
You were just sounding it out
|
|||
|
But you're not coming back again
|
|||
|
|
|||
|
Falling about
|
|||
|
You took a left off Last Laugh Lane
|
|||
|
You were just sounding it out
|
|||
|
But you're not coming back again
|
|||
|
|
|||
|
You used to get it in your fishnets
|
|||
|
Now you only get it in your night dress
|
|||
|
(Falling about)
|
|||
|
Discarded all the naughty nights for niceness
|
|||
|
Landed in a very common crisis
|
|||
|
(You took a left off Last Laugh Lane)
|
|||
|
Everything's in order in a black hole
|
|||
|
Nothing seems as pretty as the past though
|
|||
|
(You were just sounding it out)
|
|||
|
That Bloody Mary's lacking a tabasco
|
|||
|
Remember when you used to be a rascal?
|
|||
|
(You're not coming back again)"
|
|||
|
46,Four Out Of Five ,"Advertise in imaginative ways
|
|||
|
Start your free trial today
|
|||
|
Come on in, the waters lovely
|
|||
|
Look you could meet someone you like during the meteor strike
|
|||
|
It is that easy
|
|||
|
Lunar surface on a Saturday day night
|
|||
|
Dressed up in silver and white with
|
|||
|
Coloured old grey whistle test lights
|
|||
|
|
|||
|
Take it easy for a little while
|
|||
|
Come and stay with us
|
|||
|
It’s such an easy flight
|
|||
|
Cute new places keep on popping up
|
|||
|
Since the exodus it’s all getting gentrified
|
|||
|
I put a taqueria on the roof
|
|||
|
It was well reviewed
|
|||
|
Four stars out of five
|
|||
|
And that’s unheard of
|
|||
|
|
|||
|
Bridge and tunnel on the starlight express
|
|||
|
The head of special effects in my mind’s eye
|
|||
|
Hokey cokey with the opposite sex
|
|||
|
The things you try to forget
|
|||
|
Doesn’t time fly?
|
|||
|
I’m in no position to give advice
|
|||
|
I don’t want to be nice
|
|||
|
And you know that
|
|||
|
|
|||
|
Take it easy for a little while
|
|||
|
Come and stay with us
|
|||
|
It’s such an easy flight
|
|||
|
Cute new places keep popping up around Clavius
|
|||
|
It’s all getting gentrified
|
|||
|
The information action ratio is the place to go
|
|||
|
And you will not recognise the old headquarters
|
|||
|
|
|||
|
All the nights that never happened and the days that don't exist
|
|||
|
At the information action ratio
|
|||
|
The only time that we stop laughing is to breathe or steal a kiss
|
|||
|
I can get you on the list for all the clubs
|
|||
|
I can lift you up another semitone
|
|||
|
|
|||
|
Take it easy for a little while
|
|||
|
(Take it easy for a little while)
|
|||
|
Come and stay with us
|
|||
|
It’s such an easy flight
|
|||
|
Cute new places keep on popping up
|
|||
|
(Cute new places keep on popping up)
|
|||
|
Since the exodus, it’s all getting gentrified
|
|||
|
The information action ratio
|
|||
|
(The information action ratio) is the place to go
|
|||
|
Four stars out of five
|
|||
|
|
|||
|
Take it easy for a little while
|
|||
|
(Take it easy for a little while)
|
|||
|
Come and stay with us
|
|||
|
Now, it’s such an easy flight
|
|||
|
Cute new places keep on popping up
|
|||
|
(Cute new places keep on popping up)
|
|||
|
Around Clavius, it’s all getting gentrified
|
|||
|
I put a taqueria on the moon
|
|||
|
(The information action ratio)
|
|||
|
It got rave reviews
|
|||
|
Four stars out of five
|
|||
|
|
|||
|
Take it easy for a little while
|
|||
|
(Take it easy for a little while)
|
|||
|
Come and stay with us
|
|||
|
Four stars out of five
|
|||
|
Take it easy for a little while
|
|||
|
(Take it easy for a little while)
|
|||
|
Come and stay with us
|
|||
|
Four stars out of five
|
|||
|
Take it easy for a little while
|
|||
|
(Take it easy for a little while)
|
|||
|
Come and stay with us
|
|||
|
Four stars out of five
|
|||
|
(Take it easy for a little while)
|
|||
|
Four stars out of five"
|
|||
|
47,Fright lined dining room ,"You thrive on dancing in our laps
|
|||
|
Before the more familiar chaps
|
|||
|
And oh the curtain leads to fever
|
|||
|
|
|||
|
|
|||
|
We watched a womaniser cry
|
|||
|
And in the last sip you and I
|
|||
|
Declared we might require a breather
|
|||
|
|
|||
|
|
|||
|
I am the truth true through and I
|
|||
|
Can feign excitement fluently
|
|||
|
As solid as I can busk shock
|
|||
|
|
|||
|
|
|||
|
With well presented merriment
|
|||
|
And I know all too well
|
|||
|
I shouldn't break the key off in the lock
|
|||
|
|
|||
|
And the tumble splits the frame, revealing silken fits
|
|||
|
In the fright lined dining room
|
|||
|
Throw a gaze towards them while they feast
|
|||
|
|
|||
|
|
|||
|
The days drag their heels when you're not there to crack the whip
|
|||
|
And the weeks wait to burst like a sachet of brass
|
|||
|
|
|||
|
The old pantomime villian follows my coat
|
|||
|
And he hides where it hangs and he spies through the slats
|
|||
|
|
|||
|
|
|||
|
And meanwhile in the desert's only costume shop
|
|||
|
The cowls hang and wait to rot away the identities of the willing
|
|||
|
|
|||
|
Drowned bags of sugar in the night
|
|||
|
Rocketing shuttered doors despite
|
|||
|
The shop not opening for hours
|
|||
|
|
|||
|
You can itch, flap, and whistle
|
|||
|
And try to avoid the talk
|
|||
|
As I scribbled over drivel you were snoring, showing off
|
|||
|
|
|||
|
The tumble splits the frame, revealing silken fits
|
|||
|
In the fright lined dining room
|
|||
|
Throw a gaze towards them while they feast"
|
|||
|
48,From Ritz To The Rubble ,"Last night these two bouncers
|
|||
|
And one of em's alright
|
|||
|
The other one's the scary one
|
|||
|
His way or no way, totalitarian
|
|||
|
He's got no time for you
|
|||
|
Looking or breathing
|
|||
|
How he dosen’t want you to
|
|||
|
So step out the queue
|
|||
|
He makes examples of you
|
|||
|
And there's nowt you can say
|
|||
|
Behind they go through to the bit where you pay
|
|||
|
And you realize then that it's finally the time
|
|||
|
To walk back past ten thousand eyes in the line
|
|||
|
And you can swap jumpers and make another move
|
|||
|
Instilled in your brain you've got something to prove
|
|||
|
To all the smirking faces and the boys in black
|
|||
|
Why can't they be pleasant?
|
|||
|
Why can't they have a laugh?
|
|||
|
He's got his hand in your chest
|
|||
|
He wants to give you a duff
|
|||
|
Well secretly I think they want it all to kick off
|
|||
|
They want, arms flying everywhere and
|
|||
|
Bottles as well it's just
|
|||
|
Something to talk about
|
|||
|
A story to tell you
|
|||
|
|
|||
|
Well I'm so glad they turned us all away we'll put it down to fate
|
|||
|
|
|||
|
I thought a thousand million things that I could never think this morning
|
|||
|
|
|||
|
Got too deep, but how deep is too deep?
|
|||
|
|
|||
|
This town's a different town today
|
|||
|
This town's a different town to what it was last night
|
|||
|
You couldn't have done that on a Sunday
|
|||
|
|
|||
|
That girl's a different girl today
|
|||
|
That girl's a different girl to her you kissed last night
|
|||
|
You couldn't have done that on a Sunday
|
|||
|
|
|||
|
Last night what we talked about
|
|||
|
It made so much sense
|
|||
|
But now the haze has ascended
|
|||
|
It don't make no sense anymore"
|
|||
|
49,Golden Trunks ,"Last night when my psyches
|
|||
|
Subcommittee sang to me in it's scary voice
|
|||
|
You slowly dropped your eyelids
|
|||
|
When true love takes a grip it leaves you without a choice
|
|||
|
|
|||
|
And in response to what you whispered in my ear
|
|||
|
I must admit sometimes I fantasize about you too
|
|||
|
|
|||
|
The leader of the free world
|
|||
|
Reminds you of a wrestler wearing tight golden trunks
|
|||
|
He's got himself a theme tune
|
|||
|
They play it for him as he makes his way to the ring
|
|||
|
|
|||
|
And in response to what you whispered in my ear
|
|||
|
I must admit sometimes I fantasize about you too
|
|||
|
|
|||
|
And in a daytime
|
|||
|
Bendable figures with a fresh new pack of lies
|
|||
|
Summat else to publicise
|
|||
|
|
|||
|
I'm sure you've heard about enough
|
|||
|
So in response to what you whispered in my ear
|
|||
|
I must admit sometimes I fantasize about you too"
|
|||
|
50,Hello You ,"Lego Napoleon movie written in noble gas-filled glass tubes underlined in sparks
|
|||
|
I'll admit it's elaborate for a waking thought
|
|||
|
Vortex to vortex, The Business they call Show
|
|||
|
Hasn't ever been this pumped up before
|
|||
|
Hello Gruesome, there's just enough time left to swing by and re-address the start
|
|||
|
If you call and have them pull around the car and stop specialising in stories from the road
|
|||
|
|
|||
|
Hello you
|
|||
|
Still dragging out a long goodbye?
|
|||
|
I ought to apologise
|
|||
|
For one of the last times
|
|||
|
|
|||
|
As that meandering chapter reaches its end and leaves us in a thoughtful little daze
|
|||
|
This electric warrior's motorcade shall burn no more rubber down that boulevard
|
|||
|
Read the message I left on the thank you card
|
|||
|
Overtaking the tractor, waiting for sets of winds and bends to level out again
|
|||
|
Picking your moment along a country lane
|
|||
|
The kind where the harmonies feel right at home
|
|||
|
|
|||
|
Hello you
|
|||
|
Still dragging out a long goodbye?
|
|||
|
I ought to apologise
|
|||
|
For one of the last times
|
|||
|
|
|||
|
Taking a dive into your crystal ball
|
|||
|
I've snorkelled on the beaches fruitlessly
|
|||
|
Why not rewind to Rawborough Snooker Club?
|
|||
|
I could pass for seventeen if I
|
|||
|
Just get a shave and catch some Zzz"
|
|||
|
51,"Hold On, We're Going Home ","I got my eyes on you, you're everything that i see
|
|||
|
I want your hot love and emotion endlessly
|
|||
|
I can't get over you, you put your mark on me
|
|||
|
I want your high love and emotion endlessly
|
|||
|
Cause you're a good girl and you know it
|
|||
|
You act so different around me
|
|||
|
Cause you're a good girl and you know it
|
|||
|
I know exactly who you could be
|
|||
|
|
|||
|
Ref:
|
|||
|
Just hold on we're going home
|
|||
|
Just hold on we're going home
|
|||
|
It's hard to do these things alone
|
|||
|
Just hold on we're going home
|
|||
|
|
|||
|
I got my eyes on you, you're everything that i see
|
|||
|
I want your hot love and emotion endlessly
|
|||
|
I can't get over you, you left your mark on me
|
|||
|
I want your high love and emotion endlessly
|
|||
|
Cause you're a good girl and you know it
|
|||
|
You act so different around me
|
|||
|
Cause you're a good girl and you know it
|
|||
|
I know exactly who you could be
|
|||
|
|
|||
|
Ref:
|
|||
|
Just hold on we're going home (going home)
|
|||
|
Just hold on we're going home (going home)
|
|||
|
It's hard to do these things alone (things alone)
|
|||
|
Just hold on we're going home
|
|||
|
|
|||
|
You're the girl, you're the one
|
|||
|
I gave you everything i love
|
|||
|
You think there's something, baby
|
|||
|
You think there's something, baby
|
|||
|
You're the girl, you're the one
|
|||
|
I gave you everything i love
|
|||
|
You think there's something, baby
|
|||
|
You think there's something
|
|||
|
|
|||
|
Ref:
|
|||
|
Just hold on we're going home (going home)
|
|||
|
Just hold on we're going home (going home)
|
|||
|
It's hard to do these things alone (things alone)
|
|||
|
Just hold on we're going home, yeah
|
|||
|
Just hold on we're going home (going home)
|
|||
|
Just hold on we're going home (going home)
|
|||
|
Just hold on we're going home (going home)
|
|||
|
Just hold on we're going home (going home)"
|
|||
|
52,I Ain't Quite Where I Think I Am ,"Freaky keypad by the retina scan
|
|||
|
And I've been given good reason to believe
|
|||
|
I ain't quite where I think I am
|
|||
|
But it's always worth half of that
|
|||
|
You know the face but you can't see past
|
|||
|
The disco strobes in the stumbling blocks
|
|||
|
Wait, there's the other island now
|
|||
|
|
|||
|
Formation displays of affection fly over (eyes roll back)
|
|||
|
And I can see both islands now
|
|||
|
|
|||
|
It's the intermission
|
|||
|
Let's shake a few hands
|
|||
|
Blank expressions invite me to suspect
|
|||
|
I ain't quite where I think I am
|
|||
|
Stackable party guests
|
|||
|
To fill the awkward silеnces
|
|||
|
The disco strobes in thе stumbling blocks
|
|||
|
Wait, there's the other island now
|
|||
|
|
|||
|
Formation displays of affection fly over (Eyes roll back)
|
|||
|
And I can see both islands now
|
|||
|
|
|||
|
From my vantage point
|
|||
|
A spare set of tingles will race up your spine, if I get it my way
|
|||
|
|
|||
|
Looks like the Riviera
|
|||
|
Is coming into land
|
|||
|
Early predictions would seem to suggest
|
|||
|
I ain't quite where I think I am
|
|||
|
|
|||
|
Formation displays of affection flying over (Eyes roll back)
|
|||
|
And I can see both islands now"
|
|||
|
53,I Bet You Look Good On The Dancefloor ,"Stop making the eyes at me
|
|||
|
I'll stop making the eyes at you
|
|||
|
And what it is that surprises me
|
|||
|
Is that I don't really want you to
|
|||
|
And your shoulders are frozen (cold as the night)
|
|||
|
Oh, but you're an explosion (you're dynamite)
|
|||
|
Your name isn't Rio, but I don't care for sand
|
|||
|
And lighting the fuse might result in a bang with a bango
|
|||
|
|
|||
|
I bet that you look good on the dancefloor
|
|||
|
I don't know if you're looking for romance or
|
|||
|
I don't know what you're looking for
|
|||
|
I said, I bet that you look good on the dancefloor
|
|||
|
Dancing to electro-pop like a robot from 1984
|
|||
|
Well, from 1984
|
|||
|
|
|||
|
I wish you'd stop ignoring me
|
|||
|
Because you're sending me to despair.
|
|||
|
Without sound, yeah, you're calling me
|
|||
|
And I don't think it's very fair
|
|||
|
That your shoulders are frozen (cold as the night)
|
|||
|
Oh, but you're an explosion (you're dynamite)
|
|||
|
Your name isn't Rio, but I don't care for sand
|
|||
|
And lighting the fuse might result in a bang with a bango
|
|||
|
|
|||
|
I bet that you look good on the dancefloor
|
|||
|
I don't know if you're looking for romance or
|
|||
|
I don't know what you're looking for
|
|||
|
I said, I bet that you look good on the dancefloor
|
|||
|
Dancing to electro-pop like a robot from 1984
|
|||
|
Well, from 1984
|
|||
|
|
|||
|
Oh no, there ain't no love, no
|
|||
|
Montague's or Capulets
|
|||
|
Just banging tunes in DJ sets and
|
|||
|
Dirty dancefloors and dreams of naughtiness
|
|||
|
|
|||
|
Well, I bet that you look good on the dancefloor
|
|||
|
I don't know if you're looking for romance or
|
|||
|
I don't know what you're looking for
|
|||
|
I said, I bet that you look good on the dancefloor
|
|||
|
Dancing to electro-pop like a robot from 1984
|
|||
|
From 1984"
|
|||
|
54,I Haven't Got My Strange ,"When I got back from fixing my hair,
|
|||
|
you were directing traffic.
|
|||
|
Letting your story slip on the snow as
|
|||
|
if the transmission was automatic.
|
|||
|
It's arguable
|
|||
|
that I shouldn't have been there.
|
|||
|
It was fortunate timing.
|
|||
|
I had a hole in the pocket
|
|||
|
of my favourite coat
|
|||
|
and my love dropped
|
|||
|
into the lining.
|
|||
|
(Have you got your strange?)
|
|||
|
Not on me. I haven't got my strange
|
|||
|
(Have you got your strange?)
|
|||
|
Not on me
|
|||
|
You can't sleep
|
|||
|
until you've sat
|
|||
|
on the steps to weep
|
|||
|
until you feel like
|
|||
|
you've wept yeah.
|
|||
|
(As long as you don't forget your strange)
|
|||
|
(Have you got your strange?)
|
|||
|
No, not on me. I haven't got my strange
|
|||
|
I've better fetch my strange.
|
|||
|
I haven't got my strange."
|
|||
|
55,I Wanna Be Yours ,"I wanna be your vacuum cleaner
|
|||
|
Breathing in your dust
|
|||
|
I wanna be your Ford Cortina
|
|||
|
I will never rust
|
|||
|
|
|||
|
If you like your coffee hot
|
|||
|
Let me be your coffee pot
|
|||
|
You call the shots babe
|
|||
|
I just wanna be yours
|
|||
|
|
|||
|
Secrets I have held in my heart
|
|||
|
Are harder to hide than I thought
|
|||
|
Maybe I just wanna be yours
|
|||
|
I wanna be yours, I wanna be yours
|
|||
|
Wanna be yours
|
|||
|
Wanna be yours
|
|||
|
Wanna be yours
|
|||
|
|
|||
|
Let me be your leccy meter
|
|||
|
And I'll never run out
|
|||
|
And let me be the portable heater
|
|||
|
That you'll get cold without
|
|||
|
|
|||
|
I wanna be your setting lotion (Wanna be)
|
|||
|
Hold your hair in deep devotion (How deep?)
|
|||
|
At least as deep as the Pacific Ocean
|
|||
|
I wanna be yours
|
|||
|
|
|||
|
Secrets I have held in my heart
|
|||
|
Are harder to hide than I thought
|
|||
|
Maybe I just wanna be yours
|
|||
|
I wanna be yours, I wanna be yours
|
|||
|
Wanna be yours
|
|||
|
Wanna be yours
|
|||
|
Wanna be yours
|
|||
|
Wanna be yours
|
|||
|
Wanna be yours
|
|||
|
Wanna be yours
|
|||
|
Wanna be yours
|
|||
|
|
|||
|
|
|||
|
I wanna be your vacuum cleaner
|
|||
|
Breathing in your dust
|
|||
|
I wanna be your Ford Cortina
|
|||
|
I will never rust
|
|||
|
|
|||
|
I just wanna be yours (Wanna be yours)
|
|||
|
I just wanna be yours (Wanna be yours)
|
|||
|
I just wanna be yours (Wanna be yours)"
|
|||
|
56,I Want It All ,"Blind faith, heartache
|
|||
|
Mind games, mistakes
|
|||
|
My sweet fireball
|
|||
|
My sweet rigmarole
|
|||
|
I want it all
|
|||
|
I want it all
|
|||
|
|
|||
|
Old dogs, new tricks
|
|||
|
Can you feel it?
|
|||
|
Space age country girl
|
|||
|
Stone cold miracle
|
|||
|
I want it all
|
|||
|
I want it all
|
|||
|
|
|||
|
And then suddenly it hit me
|
|||
|
It’s a year ago
|
|||
|
Since I drank miniature whiskey
|
|||
|
And we shared your Coke
|
|||
|
Said ain’t it just like you to kiss me a
|
|||
|
And then hit the road
|
|||
|
Leave me listening to The Stones
|
|||
|
2000 Light Years From Home
|
|||
|
|
|||
|
Shoo-Wop, Shoo-Wop
|
|||
|
I want it all"
|
|||
|
57,I.D.S.T ,"I wrote i was here, IDST, on the bathroom mirror, IDST
|
|||
|
IDST
|
|||
|
IDST
|
|||
|
IDST
|
|||
|
|
|||
|
IDST
|
|||
|
IDST
|
|||
|
IDS... T
|
|||
|
|
|||
|
|
|||
|
I wrote Mark for Jenny. IDST
|
|||
|
With a drawing compass, on the backseat
|
|||
|
IDST
|
|||
|
IDST
|
|||
|
IDST
|
|||
|
|
|||
|
IDST
|
|||
|
IDST
|
|||
|
IDS...T
|
|||
|
|
|||
|
IDST
|
|||
|
oooh
|
|||
|
IDST
|
|||
|
oooh
|
|||
|
IDST
|
|||
|
oooh
|
|||
|
|
|||
|
IDS...T"
|
|||
|
58,If You Found This It's Probably Too Late ,"Under constant correction,
|
|||
|
A fraud,
|
|||
|
A fraud,
|
|||
|
Someone's perception, trying not to bore
|
|||
|
Im a cold-hearted kidda,
|
|||
|
Applaud
|
|||
|
Applaud
|
|||
|
If you're the highest bidder, I'm yours
|
|||
|
|
|||
|
You figure out pathetic sets
|
|||
|
We're not sure of the etiquette
|
|||
|
We think out pathetic sets
|
|||
|
|
|||
|
We're not sure of the etiquette
|
|||
|
|
|||
|
And if you found this it's probably too late
|
|||
|
Clinically cynical, hereditary hate
|
|||
|
If you found this it's probably too late
|
|||
|
Approaching the pinnacle and running out of mates
|
|||
|
|
|||
|
If we concentrate on being off the cuff
|
|||
|
Not sure we're ready but probably rough
|
|||
|
Frightened that honesty isn't enough
|
|||
|
And it's nothing on the early stuff "
|
|||
|
59,"If You Were There, Beware ","If you were there, beware
|
|||
|
The serpent soul pinchers
|
|||
|
350, no thank yous and nobody flinches
|
|||
|
Go on girl, go on, give us something gruesome
|
|||
|
We require your grief, the thugs help the thieves
|
|||
|
As they're trying to rob the words from her gob
|
|||
|
And take the swords to the innocents
|
|||
|
|
|||
|
If you were there, beware
|
|||
|
The serpent soul pinchers
|
|||
|
Can't you sense she was never meant to fill column inches
|
|||
|
Haven’t you had enough, what you're trying to dig up isn't there to be dug
|
|||
|
The thieves help the thugs
|
|||
|
As they're trying beat the good grace of a sweetheart
|
|||
|
Out to the point she'll comply
|
|||
|
|
|||
|
Why leave her on her own?
|
|||
|
If I'd have known then I wouldn't have said it
|
|||
|
I wouldn't have said it, if I would have known
|
|||
|
Why leave her on her own?
|
|||
|
If I predicted tears then I wouldn't have said it
|
|||
|
I wouldn't have said it, if I would have known
|
|||
|
|
|||
|
There's a circle of witches, ambitiously vicious they are
|
|||
|
And our attempts to remind them of reason won't get us that far
|
|||
|
I don't know what it is that they want
|
|||
|
I don't know what it is that they want
|
|||
|
But I haven't got it to give
|
|||
|
And she hasn't got it to give"
|
|||
|
60,Is This It ,"Can't you see I'm trying? I don't even like it
|
|||
|
I just lied to get to your apartment
|
|||
|
Now I'm staying there just for a while
|
|||
|
I can't think, 'cause I'm just way too tired
|
|||
|
|
|||
|
Is this it?
|
|||
|
Is this it?
|
|||
|
Is this it?
|
|||
|
|
|||
|
Said they'd give you anything you ever wanted
|
|||
|
When they lied, I knew it was just stable
|
|||
|
Children trying hard not to realize
|
|||
|
I was sitting right behind you
|
|||
|
|
|||
|
Dear, can't you see? It's them, it's not me
|
|||
|
We're not enemies, we just disagree
|
|||
|
If I was like him, all dissing his pa
|
|||
|
He changes his mind, says I went too far
|
|||
|
We all disagree, I think we should disagree, yeah
|
|||
|
|
|||
|
Is this it?
|
|||
|
Is this it?
|
|||
|
Is this it?
|
|||
|
|
|||
|
Can't you see I'm trying? I don't even like it
|
|||
|
I just lied to get to your apartment
|
|||
|
Now I'm staying there just for a while
|
|||
|
I can't think, 'cause I'm just way too tired"
|
|||
|
61,Jet Skis On The Moat ,"Jet skis on the moat
|
|||
|
They shot it all in CinemaScope
|
|||
|
As though it's the last time you're gonna ride
|
|||
|
Showstoppers anonymous
|
|||
|
Come over here and give your buddy a hug
|
|||
|
So much for deciding not to let it slide
|
|||
|
Is there something on your mind
|
|||
|
Or are you just happy to sit there and watch
|
|||
|
While the paint job dries?
|
|||
|
When it's over, you're supposed to know
|
|||
|
Lights out on the Wonderpark
|
|||
|
Your sawtoothed lover boy was quick off the mark
|
|||
|
That's long enough in the sunshine for one night
|
|||
|
Didn't recognise you through the smoke
|
|||
|
Pyjama pants and a Subbuteo cloak
|
|||
|
You know that it's alright if you wanna cry
|
|||
|
Is there something on your mind
|
|||
|
Or are you just happy to sit there and watch
|
|||
|
While the paint job dries?
|
|||
|
When it's over, you're supposed to know
|
|||
|
Jet skis on the moat
|
|||
|
They shot it all in CinemaScope
|
|||
|
As though it's the last time you're gonna ride"
|
|||
|
62,Joining The Dots ,"Try and think of something colourful for this season,
|
|||
|
Pull the wool over the gullible for no reason
|
|||
|
You are all I have these days, shake it up and run away
|
|||
|
With the night squabbling behind you
|
|||
|
|
|||
|
From the smoke in your hair to the blood in your bruise
|
|||
|
And the bows on the shoes you kicked off
|
|||
|
I'm joining the dots
|
|||
|
I'm joining the dots
|
|||
|
|
|||
|
I thought I heard them talking in their sleep yesterday
|
|||
|
And I tried but I just can't believe a word they say
|
|||
|
Hurry up, they'll be here soon, sleeping in the afternoon
|
|||
|
While the rain is trying to prove a point outside
|
|||
|
|
|||
|
From the smoke in your hair to the blood in your bruise
|
|||
|
And the bows on the shoes you kicked off
|
|||
|
I'm joining the dots
|
|||
|
I'm joining the dots
|
|||
|
I'm joining the dots
|
|||
|
|
|||
|
Those people make me calm
|
|||
|
Can't the flame come up to the moth for a change?
|
|||
|
Darling if it's all the same to you, I'll have you to myself
|
|||
|
|
|||
|
Joining the dots
|
|||
|
I'm joining the dots"
|
|||
|
63,Katy on a mission ,"In this room of darkness I ain't undercover
|
|||
|
But that won't stop my prowess rubbing off on to another
|
|||
|
Elevating higher as my body's moving lower
|
|||
|
Now I've reached my element you better move over
|
|||
|
|
|||
|
But he doesn't he blocks my way
|
|||
|
I try to push past but he wants to play
|
|||
|
So I sip his drink as I hold his gaze
|
|||
|
|
|||
|
As we erupt in to the room
|
|||
|
I feel the sub go boom
|
|||
|
A feeling easy to resume
|
|||
|
This right here I swear will end too soon
|
|||
|
Sinking to the tune
|
|||
|
As I inhale the fumes
|
|||
|
A feeling easy to resume
|
|||
|
This right here I swear will end to soon
|
|||
|
|
|||
|
My limbs seem to move what the beat dictates to me
|
|||
|
I push in to the middle the sound becomes a part of me
|
|||
|
Taking me back to that sweet familiarity
|
|||
|
Watching my adrenalin rise I feel the eyes on me
|
|||
|
|
|||
|
Sip the bottle now don't be slow
|
|||
|
Keep up with me as we lose control
|
|||
|
Keep up with me as we lose control
|
|||
|
|
|||
|
As we erupt in to the room
|
|||
|
I feel the sub go boom
|
|||
|
A feeling easy to resume
|
|||
|
This right here I swear will end too soon
|
|||
|
Sinking to the tune
|
|||
|
As I inhale the fumes
|
|||
|
A feeling easy to resume"
|
|||
|
64,Knee Socks ,"You got the lights on in the afternoon
|
|||
|
And the nights are drawn out long
|
|||
|
And you're kissing to cut through the gloom
|
|||
|
With a cough drop coloured tongue
|
|||
|
|
|||
|
And you were sitting in the corner with the coats all piled high
|
|||
|
And I thought you might be mine
|
|||
|
In a small world on an exceptionally rainy Tuesday night
|
|||
|
In the right place and time
|
|||
|
|
|||
|
When the zeros line up on the twenty four hour clock
|
|||
|
When you know who's calling even though the number is blocked
|
|||
|
When you walked around your house wearing my sky blue Lacoste
|
|||
|
And your knee socks
|
|||
|
|
|||
|
Well you cured my January blues
|
|||
|
Yeah you made it all alright
|
|||
|
I got a feeling I might have lit the very fuse
|
|||
|
That you were trying not to light
|
|||
|
|
|||
|
You were a stranger in my phone book I was acting like I knew
|
|||
|
'Cause I had nothing to lose
|
|||
|
When the winter's in full swing and your dreams just aren't coming true
|
|||
|
Ain't it funny what you'll do?
|
|||
|
|
|||
|
When the zeros line up on the twenty four hour clock
|
|||
|
When you know who's calling even though the number is blocked
|
|||
|
When you walked around your house wearing my sky blue Lacoste
|
|||
|
And your knee socks
|
|||
|
|
|||
|
The late afternoon the ghost in your room
|
|||
|
That you always thought didn't approve of you knocking boots
|
|||
|
Never stopped you letting me get hold of the sweet spot
|
|||
|
By the scruff of your knee socks
|
|||
|
|
|||
|
You and me could have been a team
|
|||
|
Each had a half of a king and queen seat
|
|||
|
Like the beginning of Mean Streets
|
|||
|
You could be my baby
|
|||
|
|
|||
|
When the zeros line up on the twenty four hour clock
|
|||
|
When you know who's calling even though the number is blocked
|
|||
|
When you walked around your house wearing my sky blue Lacoste
|
|||
|
And your knee socks"
|
|||
|
65,Knock a Door Run ,"Watch me... watch me go
|
|||
|
Well I'm struttin' up ever so slow
|
|||
|
And now sting me... get in the groove
|
|||
|
Cause they're bangin' on the door
|
|||
|
Yes they're hard and they'll make a move
|
|||
|
|
|||
|
We're wakin' up those sleepers
|
|||
|
You know we're so mischievous
|
|||
|
Just what you'll do to keep us entertained
|
|||
|
We're wakin' up those sleepers
|
|||
|
You know we're so mischievous
|
|||
|
Just what you'll do to keep us entertained
|
|||
|
|
|||
|
(Knock, run)
|
|||
|
She's got you up and she's run, run, runnin' away
|
|||
|
(Knock, run)
|
|||
|
You're knockin' first if you think that you're comin' to play
|
|||
|
|
|||
|
And I don't mind
|
|||
|
Cause all the time you're talkin' at me
|
|||
|
No I don't mind at all
|
|||
|
|
|||
|
Oh well cap guns and polystyrene planes
|
|||
|
Well I'm buying' penny bubblies with my change
|
|||
|
Cause sting me... get in the groove
|
|||
|
Cause they're bangin' on the door
|
|||
|
Yes they're hard and they'll make a move
|
|||
|
|
|||
|
We're wakin' up those sleepers
|
|||
|
You know we're so mischievous
|
|||
|
Just what you'll do to keep us entertained
|
|||
|
Oh well now she says she's goin'
|
|||
|
That she's got the towel to throw in
|
|||
|
Was just about to blow him and run away!
|
|||
|
|
|||
|
(Knock, run)
|
|||
|
She's got you up and she's run, run, runnin' away
|
|||
|
(Knock, run)
|
|||
|
You're knockin' first if you think that you're comin' to play
|
|||
|
|
|||
|
And I don't mind
|
|||
|
Cause all the time you're talkin' at me
|
|||
|
Well I don't mind at all... no"
|
|||
|
66,Leave Before The Lights Come On ,"Well, this is a good idea
|
|||
|
He wouldn't do it if it wasn't
|
|||
|
He wouldn't do it if it wasn't one
|
|||
|
|
|||
|
Well, my friend fancies you
|
|||
|
Oh, what a way to begin it all
|
|||
|
You said they're always exciting words to hear
|
|||
|
|
|||
|
And they woke up together
|
|||
|
Not quite realizing how
|
|||
|
Awkwardly stretching and yawning
|
|||
|
It's always hard in the morning
|
|||
|
|
|||
|
And I suppose that's the price you pay
|
|||
|
Well, oh, it isn't what it was
|
|||
|
She's thinking he looks different today
|
|||
|
And oh, there's nothing left to guess now
|
|||
|
|
|||
|
They left before the lights came on
|
|||
|
Because they didn't want to ruin
|
|||
|
What it was that was brewing
|
|||
|
Before they absolutely had to
|
|||
|
|
|||
|
And how can you wake up
|
|||
|
With someone you don't love?
|
|||
|
And not feel slightly phased by it
|
|||
|
Oh, he had a struggle
|
|||
|
|
|||
|
And they woke up together
|
|||
|
Not quite realizing how
|
|||
|
Awkwardly stretching and yawning
|
|||
|
It's always hard in the morning
|
|||
|
|
|||
|
And I suppose that's the price you pay
|
|||
|
Well, oh, it isn't what it was
|
|||
|
She's thinking he looks different today
|
|||
|
And oh, there's nothing left to guess now
|
|||
|
|
|||
|
Quick, let's leave
|
|||
|
Before the lights come on
|
|||
|
'Cos then you don't have to see
|
|||
|
'Cos then you don't have to see what you've done
|
|||
|
|
|||
|
Quick, let's leave
|
|||
|
Before the lights come on
|
|||
|
'Cos then you don't have to see
|
|||
|
'Cos then you don't have to see what you've done
|
|||
|
|
|||
|
I'll walk you up, what time's the bus come?
|
|||
|
I'll walk you up, what time's the bus come?
|
|||
|
I'll walk you up, what time's the bus come?"
|
|||
|
67,Library Pictures ,"Library pictures of the quickening canoe,
|
|||
|
The first of its kind to get to the moon.
|
|||
|
Trust some ellipses to chase you
|
|||
|
round the room
|
|||
|
Through curly straws and metaphors and goo!
|
|||
|
|
|||
|
Been watching all the neon blossom flickering
|
|||
|
You look as if you've all forgotten,
|
|||
|
where you've been.
|
|||
|
We're going riding through
|
|||
|
the thunder suckle fuzz canyon
|
|||
|
10, 9, 8, 7, 6, 5, 4. 3, 2, 1
|
|||
|
|
|||
|
Library pictures of the quickening canoe
|
|||
|
The first of its kind to get to the moon.
|
|||
|
Give me an eanie, meanie minie mo
|
|||
|
Or an ip, dip, dog shit rock and roll."
|
|||
|
68,Lipstick Vogue ,"Don't say you love me when it's just a rumour
|
|||
|
Don't say a word if there is any doubt
|
|||
|
Sometimes I think that love is just a tumour
|
|||
|
You've got to cut it out
|
|||
|
|
|||
|
You say you're sorry for the things that you've done
|
|||
|
You say you're sorry but you know you don't mean it
|
|||
|
I wouldn't worry, I had so much fun
|
|||
|
Sometimes I almost feel just like a human being
|
|||
|
|
|||
|
It's you, not just another mouth in the lipstick vogue
|
|||
|
It's you, not just another mouth in the lipstick vogue
|
|||
|
Oh yeah
|
|||
|
|
|||
|
Get to the slot machine, almost dead on arrival
|
|||
|
Just hit me one more time with that live wire
|
|||
|
Maybe they told you you were only a girl in a million
|
|||
|
You say I've got no feelings, this is a good way to kill them
|
|||
|
|
|||
|
Select the control and then insert the token
|
|||
|
You want to throw me away but I'm not broken
|
|||
|
You've got a lot to say--well, I'm not joking
|
|||
|
There are some words they don't allow to be spoken
|
|||
|
Sometimes I almost feel just like a human being
|
|||
|
|
|||
|
It's you, not just another mouth in the lipstick vogue"
|
|||
|
69,Little Illusion Machine (Wirral Riddler) ,"Swinging from room to room
|
|||
|
Planting something new
|
|||
|
I've ridden the riddle and I do it again
|
|||
|
Back to the wirral where it all began
|
|||
|
|
|||
|
Wirral riddler
|
|||
|
|
|||
|
Send a letter to me, baby
|
|||
|
I'm on the edge of my seat
|
|||
|
Send a letter to me, baby
|
|||
|
Little illusion machine
|
|||
|
|
|||
|
Riding through the gloom, something beautiful
|
|||
|
He's ridden the riddle, he'll do it again
|
|||
|
He's going back to the wirral
|
|||
|
Where it all began
|
|||
|
|
|||
|
Wirral riddler
|
|||
|
|
|||
|
Send a letter to me, baby
|
|||
|
I'm on the edge of my seat
|
|||
|
Send a letter to me, baby
|
|||
|
Little illusion machine
|
|||
|
|
|||
|
I tried it and I liked it
|
|||
|
But it just never gets close enough
|
|||
|
Send a letter to me, baby
|
|||
|
|
|||
|
(Wirral)
|
|||
|
So tell me where have you been?
|
|||
|
(Wirral)
|
|||
|
Little illusion machine
|
|||
|
(Wirral)
|
|||
|
Hoping tonight is gonna send me back to you
|
|||
|
Wow"
|
|||
|
70,Love Is A Laserquest ,"Do you still feel younger than you thought you would by now
|
|||
|
Or, darling, have you started feeling old yet?
|
|||
|
Don't worry, I'm sure that you're still breaking hearts
|
|||
|
With the efficiency that only youth can harness
|
|||
|
And do you still think love is a laserquest
|
|||
|
Or do you take it all more seriously?
|
|||
|
I've tried to ask you this in some daydreams that I've had
|
|||
|
But you're always busy being make-believe
|
|||
|
|
|||
|
And do you look in to the mirror to remind yourself you're there
|
|||
|
Or has somebody's goodnight kisses got that covered?
|
|||
|
When I'm not being honest I pretend that you were just some lover
|
|||
|
|
|||
|
Now I can't think of there without thinking of you
|
|||
|
I doubt that comes as a surprise
|
|||
|
And I can't think of anything to dream about
|
|||
|
I can't find anywhere to hide
|
|||
|
And when I'm hanging on by the rings around my eyes
|
|||
|
And I convince myself I need another
|
|||
|
For a minute it gets easier to pretend that you were just some lover
|
|||
|
|
|||
|
When I'm pipe and slippers and rocking chair
|
|||
|
Singing dreadful songs about summer
|
|||
|
Will I have found a better method of pretending you were just some lover?
|
|||
|
Will I have found a better method of pretending you were just some lover?"
|
|||
|
71,Love Machine ,"Ladies you're damn right
|
|||
|
You can't read a man's mind
|
|||
|
We're living in two tribes
|
|||
|
And heading for war
|
|||
|
Nobody's perfect
|
|||
|
We've all got to work it
|
|||
|
But fellas we're worth it
|
|||
|
So don't break the law
|
|||
|
|
|||
|
Your call's late
|
|||
|
Big mistake
|
|||
|
You've gotta hang about in limbo for as long as I take
|
|||
|
Next time
|
|||
|
Read my mind
|
|||
|
And I'll be good to you
|
|||
|
We're gift wrapped
|
|||
|
Kitty cats
|
|||
|
We only turn into tigers when we've got to fight
|
|||
|
(Right)
|
|||
|
Let's go
|
|||
|
Eskimo
|
|||
|
Out into the blue
|
|||
|
|
|||
|
Come take my hand
|
|||
|
Understand
|
|||
|
That you can
|
|||
|
You're my man
|
|||
|
And i need you tonight
|
|||
|
Come make my dreams
|
|||
|
Honey hard as it seems
|
|||
|
Lovin' me
|
|||
|
Is as easy as pie
|
|||
|
|
|||
|
I'm just a love machine
|
|||
|
Feeding my fantasy
|
|||
|
Give me a kiss or three
|
|||
|
and I'm fine
|
|||
|
I need a squeeze a day
|
|||
|
Instead of this negligee
|
|||
|
What will the neighbors say
|
|||
|
This time
|
|||
|
|
|||
|
I've been goin' crazy while you sleep
|
|||
|
Thinkin' of a language that the two of us can speak
|
|||
|
So Mr. Prehistoric make your wheel
|
|||
|
and I'll be underwater 'cause i like the way it feels
|
|||
|
|
|||
|
(I said) Your call's late
|
|||
|
Big mistake
|
|||
|
You've gotta hang about in limbo for as long as I take
|
|||
|
Next time
|
|||
|
Read my mind
|
|||
|
And I'll be good to you
|
|||
|
We're gift wrapped
|
|||
|
Kitty cats
|
|||
|
We only turn into tigers when we've got to fight
|
|||
|
(Right)
|
|||
|
Let's go
|
|||
|
Eskimo
|
|||
|
Out into the blue
|
|||
|
|
|||
|
Come take my hand
|
|||
|
Understand
|
|||
|
That you can
|
|||
|
You're my man
|
|||
|
And i need you tonight
|
|||
|
Come make my dreams
|
|||
|
Honey hard as it seems
|
|||
|
Lovin' me
|
|||
|
Is as easy as pie
|
|||
|
|
|||
|
I'm just a love machine
|
|||
|
Feeding my fantasy
|
|||
|
Give me a kiss or three
|
|||
|
And I'm fine
|
|||
|
I need a squeeze a day
|
|||
|
Instead of this negligee
|
|||
|
What will the neighbors say
|
|||
|
This time
|
|||
|
|
|||
|
Oh
|
|||
|
It's very new
|
|||
|
Can anybody tell me what to do
|
|||
|
Oh
|
|||
|
This feeling's very strange
|
|||
|
Can anybody tell me what's your game
|
|||
|
|
|||
|
Oh
|
|||
|
A little education
|
|||
|
Oh
|
|||
|
To give me motivation
|
|||
|
Oh
|
|||
|
We'll turn the situation
|
|||
|
'round
|
|||
|
|
|||
|
Oh
|
|||
|
Oh
|
|||
|
Making you a stranger
|
|||
|
Oh
|
|||
|
I'll only rearrange you
|
|||
|
For now
|
|||
|
|
|||
|
(Oh) I'm just a love machine
|
|||
|
Oh
|
|||
|
So give me motivation
|
|||
|
(Oh) I'm just a love machine
|
|||
|
|
|||
|
(Oh) I'm just a love machine
|
|||
|
Oh
|
|||
|
So give me motivation
|
|||
|
(Oh) I'm just a love machine "
|
|||
|
72,Mad Sounds ,"Mad sounds in your ears
|
|||
|
Make you feel alright
|
|||
|
They bring you back to life
|
|||
|
Mad sounds in your ears
|
|||
|
Make you get up and dance
|
|||
|
Make you get up, yeah they make you get up
|
|||
|
|
|||
|
Love buckles under the strain
|
|||
|
Of those wild nights
|
|||
|
Run but you can not hide
|
|||
|
Mad sounds in your ears
|
|||
|
Make you get up and dance
|
|||
|
Make you get up all night long
|
|||
|
They reappear
|
|||
|
Make you get up and dance
|
|||
|
Yeah they make you get up
|
|||
|
|
|||
|
I suppose you've gotta do what you've gotta do
|
|||
|
We just weren't feeling how we wanted to
|
|||
|
You sit and try sometimes but you just can't figure out what went wrong
|
|||
|
Then out of nowhere, somebody comes and hits you with an
|
|||
|
|
|||
|
Ooh la la la
|
|||
|
Ooh la la la
|
|||
|
Ooh la la la, ooh
|
|||
|
Ooh la la la
|
|||
|
Ooh la la la
|
|||
|
Ooh la la la, ooh
|
|||
|
|
|||
|
You got those mad sounds in your ears
|
|||
|
To make you get up and dance
|
|||
|
Mad sounds in your ears
|
|||
|
Make you get up and dance
|
|||
|
I know they make you get up
|
|||
|
|
|||
|
Ooh la la la
|
|||
|
Ooh la la la
|
|||
|
Ooh la la la, ooh
|
|||
|
Ooh la la la
|
|||
|
Ooh la la la
|
|||
|
Ooh la la la, ooh"
|
|||
|
73,Mardy Bum ,"Now then Mardy Bum
|
|||
|
I see your frown
|
|||
|
And it's like looking down the barrel of a gun
|
|||
|
And it goes off
|
|||
|
And out come all these words
|
|||
|
Oh, there's a very pleasant side to you
|
|||
|
A side I much prefer
|
|||
|
|
|||
|
It's one that laughs and jokes around
|
|||
|
Remember cuddles in the kitchen
|
|||
|
Yeah, to get things off the ground
|
|||
|
And it was up, up and away
|
|||
|
Oh, but it's right hard to remember that
|
|||
|
On a day like today when you're all argumentative
|
|||
|
And you've got the face on
|
|||
|
|
|||
|
Now then Mardy Bum
|
|||
|
Oh, I'm in trouble again, aren't I?
|
|||
|
I thought as much
|
|||
|
Cause you turned over there
|
|||
|
Pulling that silent disappointment face
|
|||
|
The one that I can't bear
|
|||
|
|
|||
|
Why can't we just laugh and joke around?
|
|||
|
Remember cuddles in the kitchen
|
|||
|
Yeah, to get things off the ground
|
|||
|
And it was up, up and away
|
|||
|
Oh, but it's right hard to remember that
|
|||
|
On a day like today when you're all argumentative
|
|||
|
And you've got the face on
|
|||
|
|
|||
|
And yeah, I'm sorry I was late
|
|||
|
Well I missed the train
|
|||
|
And then the traffic was a state
|
|||
|
And I can't be arsed to carry on in this debate
|
|||
|
That reoccurs, oh when you say I don't care
|
|||
|
But of course I do, yeah I clearly do!
|
|||
|
|
|||
|
So laugh and joke around
|
|||
|
Remember cuddles in the kitchen
|
|||
|
Yeah, to get things off the ground
|
|||
|
And it was up, up and away
|
|||
|
Still it's right hard to remember that
|
|||
|
On a day like today when you're all argumentative
|
|||
|
And you've got the face on"
|
|||
|
74,Matador ,"She was marrying the Matador and he was with the weather girl
|
|||
|
A very clever girl who stood out amongst several ones
|
|||
|
A terrible dillema and forever he'll regret the day he didn't make
|
|||
|
The rescue from the bullring
|
|||
|
Sulking won't get you nowhere son
|
|||
|
There's blood on your chin where you've bitten your tongue
|
|||
|
Smitten but might not be smitten for long
|
|||
|
If you're still sitting she'll soon be smitten and gone"
|
|||
|
75,Mr Schwartz ,"Put your heavy metal to the test
|
|||
|
Might be half a love song in it all for you
|
|||
|
Timing wise it's probably for the best
|
|||
|
Come here and kiss me now before it gets too cute
|
|||
|
|
|||
|
Mr. Schwartz is staying strong for the crew
|
|||
|
Wardrobe's lint rolling your velveteen suit
|
|||
|
And smudging dubbin on your dancing shoes
|
|||
|
|
|||
|
Gradually it's coming into view
|
|||
|
It's like your little directorial debut
|
|||
|
As fine a time as any to deduce
|
|||
|
The fact that neither you or I has ever had a clue
|
|||
|
|
|||
|
Mr. Schwartz is staying strong for the crew
|
|||
|
Wardrobe's lint rolling your velveteen suit
|
|||
|
And smudging dubbin on your dancing shoes
|
|||
|
|
|||
|
And if we guess who I'm pretending to be
|
|||
|
Do we win a prize?
|
|||
|
Having attempted twice, both incorrectly
|
|||
|
Do we get a third try?
|
|||
|
|
|||
|
The gloved hand's reaching in to hit the switch
|
|||
|
And there's not one goddam thing that you can do about it
|
|||
|
|
|||
|
Mr. Schwartz is having tea with the grips
|
|||
|
Asking after all the wives and the kids
|
|||
|
It's at the heart of what The Business is"
|
|||
|
76,My Propeller ,"If you can summon the strength, tow me
|
|||
|
I can't hold down the urgency
|
|||
|
You've got to make your decent slowly
|
|||
|
And oil up those sticky keys
|
|||
|
|
|||
|
Coax me out, my love
|
|||
|
And have a spin of my propeller
|
|||
|
|
|||
|
It's a necessary evil
|
|||
|
No cause for emergency
|
|||
|
Borrow the beak of a bald eagle
|
|||
|
Oh, momentary synergy
|
|||
|
|
|||
|
Coax me out, my love
|
|||
|
Sink into tomorrow
|
|||
|
Coax me out, my love
|
|||
|
And have a spin of my propeller
|
|||
|
|
|||
|
My propeller won't spin and I can't get it started on my own
|
|||
|
When are you arriving?
|
|||
|
My propeller won't spin and I can't get it started on my own
|
|||
|
When are you arriving?
|
|||
|
My propeller won't spin and I can't get it started on my own
|
|||
|
When are you arriving?
|
|||
|
My propeller"
|
|||
|
77,No buses ,"Lady, where has your love gone?
|
|||
|
I was looking but can't find it anywhere
|
|||
|
They always offer when there's loads of love around
|
|||
|
But, when you're short of some, it's nowhere to be found
|
|||
|
|
|||
|
Well, I know your game, you told him yesterday
|
|||
|
No chance, you'll get nothin' from me
|
|||
|
But now she's there, you're there, and everybody's there
|
|||
|
He's in turmoil, as puzzled as can be
|
|||
|
Just like me
|
|||
|
|
|||
|
Let's go down, down, low down
|
|||
|
Where I know I should not go
|
|||
|
Oh and she thinks she's the one
|
|||
|
But she's just one in 24
|
|||
|
And just 'cause everybody's doin' it
|
|||
|
Does that mean that I can, too?
|
|||
|
|
|||
|
Lady, where has your love gone?
|
|||
|
It was the anti-septic to the sore
|
|||
|
To hold you by the hand
|
|||
|
Must he first be in demand?
|
|||
|
How he longs for you to long for him once more
|
|||
|
Just once more
|
|||
|
|
|||
|
Let's go down, down, low down
|
|||
|
Where I know I should not go
|
|||
|
Oh and she thinks she's the one
|
|||
|
But she's just one in 24
|
|||
|
And just 'cause everybody's doin' it
|
|||
|
Does that mean that I can, too? Oh...
|
|||
|
|
|||
|
Her eyes went down and cut you up
|
|||
|
And there's nothing like a dirty look from
|
|||
|
The one you want, or the one you've lost
|
|||
|
|
|||
|
An ache in your soul is everybody's goal
|
|||
|
To get what they can't have
|
|||
|
That's why you're after her
|
|||
|
And that's why she's after him
|
|||
|
But sayin' it won't change a thing
|
|||
|
And no realising it won't change a thing
|
|||
|
Realising it wont change a thing"
|
|||
|
78,No. 1 Party Anthem ,"So you’re on the prowl wondering whether she left already or not
|
|||
|
Leather jacket collar popped like antenna,
|
|||
|
Never knowing when to stop
|
|||
|
Sunglasses indoors, par for the course,
|
|||
|
Lights in the floors and sweat on the walls
|
|||
|
Cages and poles
|
|||
|
|
|||
|
|
|||
|
Call off the search for your soul, or put it on hold again
|
|||
|
She’s having a sly indoor smoke
|
|||
|
And she calls the folks who run this her oldest friends,
|
|||
|
Sipping her drink and laughing at imaginary jokes
|
|||
|
As all the signals are sent, her eyes invite you to approach
|
|||
|
And it seems as though those lumps in your throat
|
|||
|
That you just swallowed have got you going
|
|||
|
|
|||
|
Come on, come on, come on
|
|||
|
Come on, come on, come on
|
|||
|
Number one party anthem
|
|||
|
|
|||
|
She’s a certified mind blower, knowing full well that I don’t
|
|||
|
May suggest that there’s somewhere from which I might know her
|
|||
|
Just to get the ball to roll
|
|||
|
Drunken monologues, confused because
|
|||
|
It’s not like I’m falling in love I just want you to do me no good
|
|||
|
And you look like you could
|
|||
|
|
|||
|
Come on, come on, come on
|
|||
|
Come on, come on, come on
|
|||
|
Number one party anthem
|
|||
|
|
|||
|
Come on, come on, come on
|
|||
|
Before the moment's gone
|
|||
|
Number one party anthem
|
|||
|
|
|||
|
The look of love - the rush of blood
|
|||
|
The “She’s with me” - The Gallic shrug
|
|||
|
The shutterbugs - the Camera Plus
|
|||
|
The black & white - the colour dodge
|
|||
|
The good time girls - the cubicles
|
|||
|
The house of fun - the number one
|
|||
|
Party anthem
|
|||
|
|
|||
|
Come on, come on, come on
|
|||
|
Before the moment's gone
|
|||
|
Number one party anthem"
|
|||
|
79,Old Yellow Bricks ,"Old yellow bricks
|
|||
|
Love's a risk
|
|||
|
Quite the little Escapoligist
|
|||
|
Looked so miffed
|
|||
|
When you wished
|
|||
|
For a thousand places better than this
|
|||
|
|
|||
|
You are the fugitive
|
|||
|
But you don't know what you're runnin from
|
|||
|
You can't kid us
|
|||
|
And you couldn't trick anyone
|
|||
|
Houdini, love, you don't know what you're runnin away from
|
|||
|
|
|||
|
Who wants to sleep in the city that never wakes up?
|
|||
|
Blinded by nostalgia
|
|||
|
Who wants to sleep in the city that never wakes up?
|
|||
|
|
|||
|
She was enraged by the way
|
|||
|
That the emperors were trapped in the cage
|
|||
|
And the days she being dull
|
|||
|
Leading to nights reading beer bottles
|
|||
|
|
|||
|
You're such a fugitive
|
|||
|
But you don't know what you're runnin from
|
|||
|
You can't kid us
|
|||
|
And you couldn't trick anyone
|
|||
|
Houdini, love, you don't know what you're runnin away from
|
|||
|
|
|||
|
Who wants to sleep in the city that never wakes up?
|
|||
|
Blinded by nostalgia
|
|||
|
Who wants to sleep in the city that never wakes up?
|
|||
|
|
|||
|
You're at a loss, just because
|
|||
|
It wasn't all that you thought it was
|
|||
|
You are a fugitive
|
|||
|
But you don't know what you're runnin away from
|
|||
|
|
|||
|
She said I want to sleep in the city that never wakes up
|
|||
|
And revel in nostalgia
|
|||
|
I know I said he wants to sleep in the city that never wakes up but
|
|||
|
Dorothy was right though"
|
|||
|
80,On the Run From the MI5 ,"Come and take a leaf out of my book
|
|||
|
I'm a crack dealing crook
|
|||
|
Selling lots of rock and roll to the masses
|
|||
|
And I know if you wanna take a trip to the city
|
|||
|
We can go (to Gibraltar)
|
|||
|
We can go (to Gibraltar)
|
|||
|
|
|||
|
Let's go, let's go, let's go, come on
|
|||
|
Come on, come on, come on, come on
|
|||
|
Let's go, let's go, let's go, come on
|
|||
|
|
|||
|
Give me your switch card - I'll book some flights
|
|||
|
|
|||
|
1996 and I'm stuck at the bottom of a truck
|
|||
|
Got the road right in my ..., got detectives
|
|||
|
And I'll say if you catch me that I really wish
|
|||
|
That I had stayed (in Gibraltar)
|
|||
|
That I had stayed (in Gibraltar)
|
|||
|
|
|||
|
Let's go, let's go, let's go, come on
|
|||
|
Come on, come on, come on, come on
|
|||
|
Let's go, let's go, let's go, come on
|
|||
|
|
|||
|
Give me your switch card - I'll book some flights"
|
|||
|
81,One For The Road ,"One for the road
|
|||
|
One for the road
|
|||
|
|
|||
|
From the bottom of your heart
|
|||
|
The relegation zone
|
|||
|
I saw this coming from the start
|
|||
|
The shake rattle and roll
|
|||
|
The cracks in blackout blinds cast patterns on the ceiling
|
|||
|
But you're feeling fine
|
|||
|
I thought it was dark outside
|
|||
|
I thought it was dark outside
|
|||
|
|
|||
|
So we all go back to yours and you sit and talk to me on the floor
|
|||
|
There's no need to show me round baby
|
|||
|
I feel like I've been here before
|
|||
|
I've been wondering whether later, when you tell everybody to go
|
|||
|
Will you pour me one for the road?
|
|||
|
|
|||
|
I knew this would be on the cards
|
|||
|
I knew you wouldn't fold
|
|||
|
I saw this coming from the start
|
|||
|
The shake rattle and roll
|
|||
|
|
|||
|
So we all go back to yours and you sit and talk to me on the floor
|
|||
|
There's no need to show me round baby
|
|||
|
I feel like I've been here before
|
|||
|
I've been wondering whether later, when you tell everybody to go
|
|||
|
Will you pour me one for the road?
|
|||
|
|
|||
|
The mixture hits you hard
|
|||
|
Don't get that sinking feeling
|
|||
|
Don't fall apart
|
|||
|
Some out of tune guitar
|
|||
|
Soundtrack to disaster
|
|||
|
|
|||
|
One for the road
|
|||
|
One for the road
|
|||
|
One for the road
|
|||
|
One for the road
|
|||
|
|
|||
|
So we all go back to yours and you sit and talk to me on the floor
|
|||
|
There's no need to show me round baby
|
|||
|
I feel like I've been here before
|
|||
|
I've been wondering whether later, when you tell everybody to go
|
|||
|
Will you pour me one for the road?"
|
|||
|
82,One Point Perspective ,"Dancing in my underpants
|
|||
|
I'm gonna run for government
|
|||
|
I'm gonna form a covers band and all
|
|||
|
And back there by the baby grand
|
|||
|
Didn't Mr. Winter Wonderland
|
|||
|
Say come here kid, we really need to talk?
|
|||
|
Bear with me man, I lost my train of thought
|
|||
|
|
|||
|
I fantasise, I call it quits
|
|||
|
I swim with the economists
|
|||
|
And I get to the bottom of it for good
|
|||
|
By the time reality hits
|
|||
|
The chimes of freedom fell to bits
|
|||
|
The shining city on the fritz
|
|||
|
They come out of the cracks
|
|||
|
Thirsty for blood
|
|||
|
|
|||
|
Just as the apocalypse finally gets prioritized
|
|||
|
And you cry some of the hottest tears you ever cried
|
|||
|
Multiplied by five
|
|||
|
I suppose the singer must die
|
|||
|
|
|||
|
Singsong 'round the money tree
|
|||
|
This stunning documentary that no one else unfortunately saw
|
|||
|
Such beautiful photography, it's worth it for the opening scene
|
|||
|
I've been driving 'round listening to the score
|
|||
|
Or maybe, I just imagined it all
|
|||
|
I've played to quiet rooms like this before
|
|||
|
Bear with me, man, I lost my train of thought"
|
|||
|
83,Only Ones Who Know ,"In a foreign place
|
|||
|
The saving grace was the feeling
|
|||
|
That it was her heart that he was stealing
|
|||
|
Oh, he was ready to impress and the fierce excitement
|
|||
|
The eyes are bright, he couldn't wait to get away
|
|||
|
And I bet that Juliet was just the icing on the cake
|
|||
|
Make no mistake, no
|
|||
|
|
|||
|
And even if somehow we could have
|
|||
|
Shown you the place you wanted
|
|||
|
Well, I’m sure you could have made it that bit
|
|||
|
Better on your own
|
|||
|
|
|||
|
And I bet she told a million people
|
|||
|
That she'd stay in touch
|
|||
|
But all the little promises they don’t mean much
|
|||
|
When there’s memories to be made
|
|||
|
And I hope you're holding hands by new year's eve
|
|||
|
They made it far too easy to believe
|
|||
|
That true romance can't be achieved these days
|
|||
|
|
|||
|
And even if somehow we could have
|
|||
|
Shown you the place you wanted
|
|||
|
Well, I’m sure you could have made it that bit
|
|||
|
Better on your own
|
|||
|
You are the only ones who know"
|
|||
|
84,Only You Know ,"I want to see something that used to be in your eyes again
|
|||
|
I'm waiting to see it you know it's only a question of when
|
|||
|
And I know how much I'm missing heaven
|
|||
|
You know that its missing
|
|||
|
|
|||
|
And only you know
|
|||
|
Where you have been to
|
|||
|
Only you know
|
|||
|
What you have been through
|
|||
|
There's better things
|
|||
|
You're gonna get into
|
|||
|
And I want to be there too
|
|||
|
|
|||
|
I know it's not easy for you to start to believe again
|
|||
|
And when the day comes don't let yourself be deceived again
|
|||
|
Cause I know how you've been waiting
|
|||
|
Such a long time that you've been waiting
|
|||
|
|
|||
|
And only you know
|
|||
|
Where you have been to
|
|||
|
Only you know
|
|||
|
What you have been through
|
|||
|
There's better things
|
|||
|
You're gonna get into
|
|||
|
And I want to be there too
|
|||
|
|
|||
|
And I know how you've been waiting
|
|||
|
Such a long time that you've been waiting
|
|||
|
|
|||
|
And only you know
|
|||
|
Where you have been to
|
|||
|
Only you know
|
|||
|
What you have been through
|
|||
|
There's better things
|
|||
|
You're gonna get into
|
|||
|
And I want to be there too"
|
|||
|
85,Perfect Sense ,"Richard of York: The Executive Branch
|
|||
|
Having some fun with the warm-up act
|
|||
|
If that's what it takes to say goodnight
|
|||
|
Then that's what it takes
|
|||
|
|
|||
|
A four figure sum on a hotel notepad
|
|||
|
A revelation or your money back
|
|||
|
That's what it takes to say goodnight
|
|||
|
Sometimes I wrap my head around it all and it makes perfect sense
|
|||
|
|
|||
|
Keep reminding me that it ain't a race
|
|||
|
When my invincible streak turns onto the final straight
|
|||
|
If that's what it takes to say goodnight
|
|||
|
Then that's what it takes"
|
|||
|
86,Perhaps Vampires Is A Bit Strong But... ,"I've seen your eyes as they fix on me
|
|||
|
What is he doing? What on earth's the plan? Has he got one?
|
|||
|
You'd better give me some pointers
|
|||
|
Since you are the big rocket launcher and I'm just the shotgun.
|
|||
|
|
|||
|
Well, I ain't got no dollar signs in my eyes
|
|||
|
That might be a surprise, but it's true
|
|||
|
So I'm not like you and I don't want your advice
|
|||
|
Or your praise or to move in the ways you do.
|
|||
|
And I never will.
|
|||
|
|
|||
|
'Cause all you people are vampires
|
|||
|
And all your stories are stale
|
|||
|
And though you pretend to stand by us
|
|||
|
I know you're certain we'll fail
|
|||
|
|
|||
|
Well, I've seen your eyes as they fix on me
|
|||
|
Full of confusion. Your snarl is just so condescending.
|
|||
|
Try to explain that we're onto a win
|
|||
|
If the fee we get in near recoups what we're spending.
|
|||
|
|
|||
|
He said: ""I can't believe, that you drove all that way
|
|||
|
Well, how much did they pay ya? How much did they pay ya?
|
|||
|
You'd have been better to stay round our way
|
|||
|
Thinking 'bout things, but not actually doing the things.""
|
|||
|
|
|||
|
'Cause all you people are vampires
|
|||
|
And all your stories are stale
|
|||
|
And though you pretend to stand by us
|
|||
|
I know you're certain we'll fail
|
|||
|
|
|||
|
'Cause all you people are vampires
|
|||
|
And all your stories are stale
|
|||
|
And though you pretend to stand by us
|
|||
|
I know you're certain we'll fail
|
|||
|
|
|||
|
All you people are vampires!"
|
|||
|
87,Piledriver Waltz ,"I etched the face of a stopwatch
|
|||
|
On the back of a raindrop
|
|||
|
And did a swap for the sand in an hourglass.
|
|||
|
|
|||
|
I heard an unhappy ending
|
|||
|
it sort of sounds like you leaving
|
|||
|
I heard the piledriver waltz,
|
|||
|
it woke me up this morning.
|
|||
|
|
|||
|
You look like you’ve been for breakfast
|
|||
|
at the Heartbreak Hotel
|
|||
|
And sat in the back booth by the pamphlets
|
|||
|
and the literature on how to lose
|
|||
|
Your waitress was miserable
|
|||
|
and so was your food.
|
|||
|
If you’re gonna try and walk on water
|
|||
|
make sure you wear your comfortable shoes.
|
|||
|
|
|||
|
Mysteries flashing amber go green
|
|||
|
when you answer but the red on the rest
|
|||
|
of the questionnaire never changes.
|
|||
|
|
|||
|
I heard the news that you’re planning
|
|||
|
to shoot me out of a cannon.
|
|||
|
I heard the piledriver waltz,
|
|||
|
it woke me up this morning.
|
|||
|
|
|||
|
You look like you’ve been for breakfast
|
|||
|
at the Heartbreak Hotel
|
|||
|
And sat in the back booth by the pamphlets
|
|||
|
and the literature on how to lose.
|
|||
|
Your waitress was miserable
|
|||
|
and so was your food.
|
|||
|
If you’re gonna try and walk on water
|
|||
|
make sure you wear your comfortable shoes.
|
|||
|
|
|||
|
Oh, piledriver."
|
|||
|
88,Plastic Tramp ,"He looks as if he hasn't slept,
|
|||
|
His hair is purposely unkept.
|
|||
|
Then he knew his people wept
|
|||
|
When you crafted your plan.
|
|||
|
|
|||
|
Shadows underneath the eyes,
|
|||
|
And everywhere the bastard lies,
|
|||
|
My lack of proof is your disguise,
|
|||
|
You won't remember me.
|
|||
|
|
|||
|
There's nothing really I can say,
|
|||
|
I'm sorry mate and walk away.
|
|||
|
I could be wrong unless you play your game.
|
|||
|
|
|||
|
It's wonderful and most unkind,
|
|||
|
And Horrible is redefined.
|
|||
|
I can't imagine that you'd mind at all.
|
|||
|
|
|||
|
You're lying again, your conscious ain't you friend.
|
|||
|
And the only thing you are sorting out is your imagination.
|
|||
|
You're lying again, your conscious ain't you friend.
|
|||
|
And the only thing you are sorting out is your imagination.
|
|||
|
|
|||
|
Is he really on the street,
|
|||
|
Desperation or deceit?
|
|||
|
And what he's wearing on his feet will solve our mystery.
|
|||
|
|
|||
|
And I am baffled by how you stand there soaking it in.
|
|||
|
Do you hide your identity where you hide your grin?
|
|||
|
Better hide your grin
|
|||
|
|
|||
|
Shadows underneath the eyes,
|
|||
|
And everywhere the bastard lies,
|
|||
|
My lack of proof is your disguise,
|
|||
|
You won't remember me.
|
|||
|
|
|||
|
There's nothing really I can say,
|
|||
|
I'm sorry mate and walk away.
|
|||
|
I could be wrong unless you play your game.
|
|||
|
|
|||
|
It's wonderful and most unkind,
|
|||
|
And Horrible is redefined.
|
|||
|
I can't imagine that you'd mind at all.
|
|||
|
|
|||
|
You're lying again, your conscious ain't you friend.
|
|||
|
And the only thing you are sorting out is your imagination.
|
|||
|
You're lying again, your conscious ain't you friend.
|
|||
|
And the only thing you are sorting out is your imagination."
|
|||
|
89,Potion Approaching ,"I was biting the time zone,
|
|||
|
And we embellish the banks of our bloodstreams,
|
|||
|
And threw caution to the colourful
|
|||
|
Then we fell asleep in the car,
|
|||
|
Until the bumps woke me up in your grip
|
|||
|
And the tide took me to your mouth,
|
|||
|
And then swept me back down to your palms
|
|||
|
|
|||
|
It’s them that put me inside the reminder
|
|||
|
That yours is the only ocean,
|
|||
|
(Yours Is the only ocean)
|
|||
|
That I wanna swing from,
|
|||
|
Yours is the only ocean,
|
|||
|
That I wanna hang on
|
|||
|
|
|||
|
I've got this ego mechanic,
|
|||
|
She’s always trying to give me vitamins
|
|||
|
Oh she’d be frightened of your reflection,
|
|||
|
I preferred her as a cartoon
|
|||
|
If I could be someone else for a week,
|
|||
|
I’d spend it chasing after you,
|
|||
|
Cos she’s not shattering my attitude,
|
|||
|
No matter how she folds the potion
|
|||
|
|
|||
|
Yours is the only ocean,
|
|||
|
That I wanna swing from,
|
|||
|
Yours is the only ocean,
|
|||
|
That I wanna hang on to
|
|||
|
I’m swinging on
|
|||
|
Yours is the only ocean,
|
|||
|
Yours is the only ocean,
|
|||
|
Yours is the only ocean,
|
|||
|
Yours is the only ocean
|
|||
|
|
|||
|
Potion approaching, shield your eyes,
|
|||
|
Potion approaching, visualize,
|
|||
|
Holding a token, swollen in size,
|
|||
|
Potion approaching, shield your eyes
|
|||
|
|
|||
|
Oh but if we’re gonna escape though,
|
|||
|
We really ought to think it through,
|
|||
|
Would you like me to build you a go kart?"
|
|||
|
90,Pretty Visitors ,"Tricking through the morning,
|
|||
|
The tramp with the trampoline under his arm,
|
|||
|
Shifts past your whiskers,
|
|||
|
So spark is a charm with the barking alarm,
|
|||
|
Weighs coil 'til the corner is turned.
|
|||
|
|
|||
|
And the bicycle wheels, all struggle to move round,
|
|||
|
In your muddy mind,
|
|||
|
Blatantly cape town,
|
|||
|
And will intertwine in co-operative time,
|
|||
|
Shall we sit on the springs 'til the mung goes dry?
|
|||
|
|
|||
|
All the pretty visitors came and waved their arms
|
|||
|
And cast the shadow of a snake pit on the wall,
|
|||
|
All the pretty visitors came and waved their arms
|
|||
|
And cast the shadow of a snake pit on the
|
|||
|
|
|||
|
What came first the chicken or the dickhead?
|
|||
|
Split sleep reeps through rewards and ill fitting thoughts,
|
|||
|
A twilight force, she doesn't wanna walk,
|
|||
|
Your legs start running and your head gets caught,
|
|||
|
Canopy 19 it's perfectly placed for the reasonably frightening,
|
|||
|
Pulled from the after taste, you'll have to slip away,
|
|||
|
And I'm happy to say,
|
|||
|
Behold as the crook in a hammock plays
|
|||
|
|
|||
|
All the pretty visitors came and waved their arms
|
|||
|
And cast the shadow of a snake pit on the wall,
|
|||
|
All the pretty visitors came and waved their arms
|
|||
|
And cast the shadow of a snake pit on the wall
|
|||
|
|
|||
|
Behold as the crook in the hammock plays,
|
|||
|
Crawling with the base of the scales,
|
|||
|
And fiddles with the feet on a balancing act,
|
|||
|
Gagged, bound and craft in a tale,
|
|||
|
Trailing wrapped in a gasp,
|
|||
|
|
|||
|
Crawling with the base of the scales,
|
|||
|
And fucking fiddles with the feet on a balancing act,
|
|||
|
You were gagged, bound and craft in a tale,
|
|||
|
Trailing wrapped in a gasp.
|
|||
|
|
|||
|
All the pretty visitors came and waved their arms
|
|||
|
And cast the shadow of a snake pit on the wall,
|
|||
|
All the pretty visitors came and waved their arms
|
|||
|
And cast the shadow of a snake pit on the wall."
|
|||
|
91,Put Me In A Terror Pocket ,"He spoke a script
|
|||
|
Dipped in the sort of talk to make you keep the gaze
|
|||
|
It's all a trick
|
|||
|
The slicked back slimy arms have got a war to wage
|
|||
|
|
|||
|
He's got a laugh like a crackling wire
|
|||
|
And he wants to put the bite marks on you
|
|||
|
He wants to put the bite marks on you
|
|||
|
And he twists my guts
|
|||
|
|
|||
|
As the only thing as repelling as his invitations
|
|||
|
Are his excuses
|
|||
|
And he said ""I am the conductor
|
|||
|
Put me in a terror pocket""
|
|||
|
|
|||
|
He did a stint
|
|||
|
Master in a craft
|
|||
|
He'd squint through his spectacle
|
|||
|
He'd drop a dirty hint if he thinks that he could impress you with the unacceptable
|
|||
|
|
|||
|
And he has turned through all the pages with his fingers
|
|||
|
And covered them with goo
|
|||
|
And he wants to put the bite marks on you
|
|||
|
He wants to put them on you and it hurts my back
|
|||
|
|
|||
|
Because the only thing that's as heavy as the adoration
|
|||
|
Is the days of hanging out on his own
|
|||
|
And it's been a long-sounding alarm
|
|||
|
And he frightened me to death
|
|||
|
When he said ""I am the conductor
|
|||
|
Put me in a terror pocket""
|
|||
|
|
|||
|
'Cause he's trying to give me a ticket to a competition
|
|||
|
And I don't know how the odds are stacked
|
|||
|
As he's rolling out the running track"
|
|||
|
92,Put Your Dukes Up John (cover The Little Flames) ,"Put your dukes up John,
|
|||
|
Yeah, put your dukes up John,
|
|||
|
You were preened and sanitised,
|
|||
|
Struck dumb by good advice.
|
|||
|
|
|||
|
Your integrity was bruised,
|
|||
|
Your celebrity a ruse,
|
|||
|
They pulled the rug from under,
|
|||
|
Made way for new pretenders.
|
|||
|
|
|||
|
Change your tune and change your hair
|
|||
|
Or you’re not going anywhere
|
|||
|
Change your tune and change your hair
|
|||
|
Or you’re not going anywhere
|
|||
|
Be a C_Y_N_I_C_
|
|||
|
Be a C_Y_N_I_C_
|
|||
|
|
|||
|
The profit margin blinds them,
|
|||
|
They groomed and ostracised him,
|
|||
|
His calm makes my blood boil,
|
|||
|
His calm makes my blood boil,
|
|||
|
|
|||
|
Change your tune and change your hair
|
|||
|
Or you’re not going anywhere
|
|||
|
Change your tune and change your hair
|
|||
|
Or you’re not going anywhere
|
|||
|
Be a C_Y_N_I_C_
|
|||
|
Be a C_Y_N_I_C_"
|
|||
|
93,R U Mine ,"I'm a puppet on a string
|
|||
|
Tracy Island, Time traveling
|
|||
|
Diamond cutter shaped heartaches
|
|||
|
Come to find you 4:00 in some velvet morning
|
|||
|
Years too late
|
|||
|
She's a silver lining
|
|||
|
Lone ranger riding through an open space
|
|||
|
In my mind, when she's not right there beside me
|
|||
|
|
|||
|
I go crazy 'cause here isn't where I wanna be
|
|||
|
And satisfaction feels like a distant memory
|
|||
|
And I can't help myself
|
|||
|
All I wanna hear her say is ""Are you mine?""
|
|||
|
|
|||
|
Well, are you mine?
|
|||
|
Are you mine?
|
|||
|
Are you mine?
|
|||
|
|
|||
|
I guess what I'm trying to say is I need the deep end
|
|||
|
Keep imagining meeting
|
|||
|
Wished away entire lifetimes
|
|||
|
Unfair we're not somewhere misbehaving for days
|
|||
|
Great escape
|
|||
|
Lost track of time and space
|
|||
|
She's a silver lining climbing on my desire
|
|||
|
|
|||
|
And I go crazy 'cause here isn't where I wanna be
|
|||
|
And satisfaction feels like a distant memory
|
|||
|
And I can't help myself
|
|||
|
All I wanna hear her say is ""Are you mine?""
|
|||
|
|
|||
|
Well, are you mine? (Are you mine tomorrow?)
|
|||
|
Are you mine? (Or just mine tonight?)
|
|||
|
Are you mine? (Are you mine? Mine?)
|
|||
|
|
|||
|
And the thrill of the chase moves in mysterious ways
|
|||
|
So in case I'm mistaken
|
|||
|
I just wanna hear you say
|
|||
|
""You've got me, baby are you mine?""
|
|||
|
|
|||
|
She's a silver lining, lone ranger riding
|
|||
|
Through an open space in my mind
|
|||
|
When she's not right there beside me
|
|||
|
|
|||
|
I go crazy cause here isn't where I wanna be
|
|||
|
And satisfaction feels like a distant memory
|
|||
|
And I can't help myself
|
|||
|
All I wanna hear her say is ""Are you mine?""
|
|||
|
|
|||
|
Well, are you mine? (Are you mine tomorrow?)
|
|||
|
Are you mine? (Or just mine tonight?)
|
|||
|
Are you mine? (Are you mine tomorrow, or just mine tonight?)"
|
|||
|
94,Ravey Ravey Ravey Club ,"She's been thinking, well fuck it all we're not goin' home today
|
|||
|
And she's been eatin' too much magic beans to walk home anyway
|
|||
|
And you can't fool me, oh come down to the dirty ground
|
|||
|
Put up your picture and the playful word will get around
|
|||
|
Yeah word will get around yeah
|
|||
|
Yeah word will get around
|
|||
|
|
|||
|
Everyone's fellin' alright
|
|||
|
I won't be sleepin' today
|
|||
|
I won't be sleepin' tonight!
|
|||
|
|
|||
|
I'm fellin' silly, I'm feeling oh so sick
|
|||
|
And I can't see you through the smoke because the clouds so thick
|
|||
|
And there's a fire as you're dancin' to the disco sound
|
|||
|
Put up your picture baby and word will get around
|
|||
|
Yeah word will get around yeah
|
|||
|
Yeah word will get around
|
|||
|
|
|||
|
Everyone's feelin' alright
|
|||
|
I won't be sleepin' today
|
|||
|
I won't be sleepin' tonight!"
|
|||
|
95,Reckless serenade ,"Topless models doing semaphore
|
|||
|
wave their flags as she walks by and get ignored
|
|||
|
Illuminations on a rainy day
|
|||
|
When she walks her footsteps sing a reckless serenade
|
|||
|
|
|||
|
I've been trying to figure out exactly what it is I need
|
|||
|
Called up to listen to the voice of reason
|
|||
|
And got the answering machine
|
|||
|
|
|||
|
The type of kisses where teeth collide
|
|||
|
When she laughs her heavens hum
|
|||
|
A stun gun lullaby
|
|||
|
Those twinkling vixens
|
|||
|
With their shining spiral eyes
|
|||
|
Their hypnosis goes unnoticed when she's walking by
|
|||
|
|
|||
|
I've been trying to figure out exactly what it is I need
|
|||
|
Called up to listen to the voice of reason
|
|||
|
And got his answering machine
|
|||
|
|
|||
|
I left my message
|
|||
|
But did he fuck get back to me
|
|||
|
And now I'm stuck still wondering
|
|||
|
How it's meant to be
|
|||
|
|
|||
|
Singing a reckless serenade, reckless serenade
|
|||
|
Reckless serenade, reckless serenade
|
|||
|
|
|||
|
Reckless serenade
|
|||
|
Reckless serenade
|
|||
|
Reckless serenade"
|
|||
|
96,Red Light Indecates Doors Are Secured ,"Ask if we can have six in
|
|||
|
If not we'll have to have 2
|
|||
|
You're coming up at our end aren't you?
|
|||
|
So I'll get one with you
|
|||
|
Oh won't he let us have six in?
|
|||
|
Especially not with the food
|
|||
|
He could've just told us no though, he dint have to be rude
|
|||
|
|
|||
|
You see her with the green dress?
|
|||
|
She talked to me at the bar
|
|||
|
How come it's already two pound fifty?
|
|||
|
We've only gone about a yard
|
|||
|
Dint you see she were gorgeous
|
|||
|
She was beyond belief
|
|||
|
But this lad at the side drinking a Smirnoff Ice came and paid for her Tropical Reef
|
|||
|
|
|||
|
And I'm sitting going backwards, and I didn't want to leave
|
|||
|
I said it's High Green mate, via Hillsborough please
|
|||
|
|
|||
|
How funny was that sketch earlier
|
|||
|
Up near that taxi rank
|
|||
|
Although you will have missed it
|
|||
|
Think it were when you went to the bank
|
|||
|
These two lads squaring up proper shouting
|
|||
|
Bout who were next in the queue
|
|||
|
The kind of thing that would seem so silly but not when they've both had a few
|
|||
|
|
|||
|
Well calm down temper temper, you just shouldn't get so annoyed
|
|||
|
Well you're acting like a silly little boy
|
|||
|
Oh they wanted to be men and do some fighting in the street
|
|||
|
He said no surrender, no chance of retreat
|
|||
|
|
|||
|
So why are we in the taxi? 'Cause I didn't wanna leave
|
|||
|
said it's High Green mate, via Hillsborough please
|
|||
|
|
|||
|
Drunken plots hatched to jump it
|
|||
|
Ask around are you sure?
|
|||
|
Went for it but the red light was showing
|
|||
|
And the red light indicates doors are secured"
|
|||
|
97,Red Right Hand ,"Take a little walk to the edge of town
|
|||
|
and go across the tracks
|
|||
|
Where the viaduct looms,
|
|||
|
like a bird of doom
|
|||
|
As it shifts and cracks
|
|||
|
Where secrets lie in
|
|||
|
the border fires and
|
|||
|
the humming wires well you know you're never comin back
|
|||
|
Past the square, past the bridge
|
|||
|
past the mills, past the stacks
|
|||
|
|
|||
|
On a gathering storm comes
|
|||
|
a tall handsome man
|
|||
|
In a dusty black coat with
|
|||
|
a red right hand
|
|||
|
|
|||
|
He'll wrap you in his arms and
|
|||
|
tell you that you've been a good boy
|
|||
|
He'll rekindle all of those dreams
|
|||
|
it took you a lifetime to destroy
|
|||
|
He'll reach deep into the hole,
|
|||
|
heal your shrinking soul
|
|||
|
And there won't be a single thing
|
|||
|
That you can do
|
|||
|
He's a god, he's a man,
|
|||
|
he's a ghost, he's a guru
|
|||
|
|
|||
|
They're whispering his name
|
|||
|
Across this disappearing land
|
|||
|
But hidden in his coat
|
|||
|
is a red right hand
|
|||
|
|
|||
|
You don't have no money?
|
|||
|
He'll get you some
|
|||
|
If you haven't got no car,
|
|||
|
He'll get you one
|
|||
|
You've got no self-respect,
|
|||
|
you feel like an insect
|
|||
|
Well don't you worry buddy,
|
|||
|
cause here he comes
|
|||
|
Through the ghetto and the barrio
|
|||
|
and the bowery and the slums
|
|||
|
|
|||
|
A shadow is cast
|
|||
|
wherever he stands
|
|||
|
Stacks of green paper in his
|
|||
|
red right hand
|
|||
|
|
|||
|
You'll see him in your nightmares,
|
|||
|
you'll see him in your dreams
|
|||
|
He'll appear out of nowhere but
|
|||
|
he's not what he seems
|
|||
|
You'll see him in your head and
|
|||
|
on the TV screen
|
|||
|
hey buddy, I'm warning
|
|||
|
you to turn it off
|
|||
|
He's a ghost, he's a god,
|
|||
|
he's a man, he's a guru
|
|||
|
|
|||
|
You're one microscopic cog
|
|||
|
in his catastrophic plan
|
|||
|
Designed and directed by
|
|||
|
his red right hand"
|
|||
|
98,Riot Van ,"Up rolls the riot van
|
|||
|
and sparks excitement in the boys
|
|||
|
But the policemen look annoyed
|
|||
|
Perhaps these are ones they should avoid
|
|||
|
|
|||
|
We got a chase last night
|
|||
|
from men with truncheons dressed in hats
|
|||
|
We didn't do that much wrong
|
|||
|
still ran away though for the laugh
|
|||
|
Just for the laugh
|
|||
|
|
|||
|
And please just stop talking
|
|||
|
Cause they won't find us if you do
|
|||
|
Oh, those silly boys in blue
|
|||
|
Well, they won't catch me and you
|
|||
|
|
|||
|
Have you been drinking, son?
|
|||
|
You don't look old enough to me
|
|||
|
I'm sorry officer is there
|
|||
|
a certain age you're supposed to be?
|
|||
|
Cause nobody told me
|
|||
|
|
|||
|
And up rolls the riot van
|
|||
|
And these lads just wind the coppers up
|
|||
|
They ask why they don't catch proper crooks
|
|||
|
They got their address and their names took
|
|||
|
But they couldn't care less
|
|||
|
|
|||
|
Thrown in the riot van
|
|||
|
And all the coppers kicked him in
|
|||
|
And there was no way he could win
|
|||
|
Just had to take it on the chin"
|
|||
|
99,Sandtrap ,"When you leave us through the patient doors
|
|||
|
That rattle in you ear will be the sound of our applause
|
|||
|
Rapturous, considered and due
|
|||
|
Oh the nasty laughter and desperate smirks
|
|||
|
Are tangled in the boredom where out brittle kisses lurk
|
|||
|
Well how can i believe you, when you can't believe your luck
|
|||
|
|
|||
|
And the shards of past attraction lie visible
|
|||
|
But shy and blunt and weak and worn
|
|||
|
Away by whining in the emery paper voice you use to speak
|
|||
|
|
|||
|
Oh the shards of past attraction lie visible
|
|||
|
But shy and blunt and weak and worn
|
|||
|
Away by whining in the emery paper voice you use to speak
|
|||
|
|
|||
|
In the trap
|
|||
|
You only want to be the first to laugh
|
|||
|
You only want to be the first in the sandtrap
|
|||
|
You only want to be the first to laugh
|
|||
|
|
|||
|
And your climbing holes and sink the claws
|
|||
|
We know i do clenching that you send us all towards
|
|||
|
|
|||
|
Farewell, farewell, farewell"
|
|||
|
100,Science Fiction ,"Religious iconography giving you the creeps?
|
|||
|
I feel rougher than a disco lizard tongue along your cheek
|
|||
|
The rise of the machines
|
|||
|
I must admit you gave me something momentarily
|
|||
|
In which I could believe
|
|||
|
But the hand of harsh reality’s un-gloved
|
|||
|
And it’s on its way back to scoop you up
|
|||
|
Not on my watch
|
|||
|
|
|||
|
I want to stay with you my love
|
|||
|
The way that some science fiction does reflections in
|
|||
|
The silver screen of strange societies
|
|||
|
Swamp monster with a hard on for connectivity
|
|||
|
|
|||
|
The ascension of the cream
|
|||
|
Mass panic on a not too distant future colony
|
|||
|
Quantitative easing
|
|||
|
I want to make a simple point about peace and love
|
|||
|
But in a sexy way where it’s not obvious
|
|||
|
Highlight dangers and send out hidden messages
|
|||
|
The way some science fiction does
|
|||
|
|
|||
|
I’ve got the world on a wire in my little mirror mirror on the wall
|
|||
|
In the pocket of my raincoat
|
|||
|
So I tried to write a song to make you blush
|
|||
|
But I’ve a feeling that the whole thing
|
|||
|
May well just end up too clever for its own good
|
|||
|
The way some science fiction does"
|
|||
|
101,Sculptures Of Anything Goes ,"How am I supposed to manage my infallible beliefs
|
|||
|
While I'm sockin' it to ya?
|
|||
|
Performing in Spanish on Italian TV
|
|||
|
Sometime in the future
|
|||
|
Whilst wondering if your mother still ever thinks of me
|
|||
|
Hallelujah
|
|||
|
|
|||
|
Blank canvasses lent against gallery walls
|
|||
|
Flowing towards sculptures of Anything Goes
|
|||
|
On the marble stairs
|
|||
|
|
|||
|
Is that vague sense of longing kinda trying to cause a scene?
|
|||
|
Guess I'm talking to you now
|
|||
|
Puncturing your bubble of relatability
|
|||
|
With your horrible new sound
|
|||
|
Baby, those mixed messages ain't what they used to be
|
|||
|
When you said 'em out loud
|
|||
|
|
|||
|
Blank canvasses lent against gallery walls
|
|||
|
Flowing towards sculptures of Anything Goes
|
|||
|
On the marble stairs
|
|||
|
Leading to almost wherever you want them to
|
|||
|
|
|||
|
The simulation cartridge for City Life '09
|
|||
|
Is pretty tricky to come by
|
|||
|
Village coffee mornings with not long since retired spies
|
|||
|
Now that's my idea of a good time
|
|||
|
Flash that angle grinder smile, gasp and roll your eyes
|
|||
|
And help me to get untied from the chandelier
|
|||
|
And twizzling 'round an umbrella
|
|||
|
I'll sing a tune"
|
|||
|
102,Secret Door ,"Fools on parade cavort and carry on for waiting eyes
|
|||
|
That you would rather be beside than in front of
|
|||
|
But she’s never been the kind to be hollowed by the stares
|
|||
|
|
|||
|
She swam out of tonight’s phantasm, grabbed my hand and made it very clear
|
|||
|
There’s absolutely nothing for us here
|
|||
|
It’s a magnolia celebration to be attempted on a Wednesday night
|
|||
|
It’s better that than get a reputation as a miserable little tyke
|
|||
|
At least that’s the conclusion she came to in this overture
|
|||
|
|
|||
|
And the secret door swings behind us,
|
|||
|
She’s saying nothing, she’s just giggling along
|
|||
|
|
|||
|
Her arms were folded the most indignant not looking like she was soon to leave
|
|||
|
I had to squint in order to believe.
|
|||
|
And then like a butler pushing on a bookshelf and unveiling the unexpected
|
|||
|
I who was earlier reluctant was suddenly embarrassed and corrected
|
|||
|
How could such a creature survive in such a habitat?
|
|||
|
|
|||
|
And the secret door swings behind us,
|
|||
|
She’s saying nothing, she’s just giggling along
|
|||
|
And even if they were to find us I wouldn’t notice,
|
|||
|
I’m completely occupied
|
|||
|
|
|||
|
As all the fools on parade cavort and carry on for waiting eyes
|
|||
|
Ones you would rather be beside than in front of
|
|||
|
But she’s never been the kind to be hollowed by the stares
|
|||
|
Fools on parade frolic and fuck about to make her gaze
|
|||
|
Turn to a scribble on a page by a picture that holds her absence
|
|||
|
But you’re daft to think she’d care
|
|||
|
|
|||
|
Fools on parade
|
|||
|
Fools on parade
|
|||
|
Fools on parade conduct a sing-along"
|
|||
|
103,Settle For A Draw ,"Well I watch you tangle every weekend
|
|||
|
It might start different but it ends up the same
|
|||
|
One minute you're casually speaking
|
|||
|
The next it all goes up and you pour fuel on the flame
|
|||
|
With your Jerry can of words and tones
|
|||
|
|
|||
|
And no one's gonna start a revolution
|
|||
|
So we best leave it well alone
|
|||
|
And there's something that Frankie used to say, Apparently
|
|||
|
Oh he says settle for a draw
|
|||
|
Well you're not gonna get no more
|
|||
|
So you should settle for a draw
|
|||
|
I told you once I'm sure
|
|||
|
I told you once I'm sure
|
|||
|
You should settle for a draw
|
|||
|
Why don't you settle for a draw?
|
|||
|
|
|||
|
Well you're right it is one set of rules for her
|
|||
|
And then another set for you
|
|||
|
But that's just the way it is I suppose
|
|||
|
And there's nowt you can do
|
|||
|
And lets not fall in the trap
|
|||
|
Of Answering back
|
|||
|
I am just a beginner
|
|||
|
But she'll be the only winner
|
|||
|
That's for sure
|
|||
|
So take the draw, if it's available
|
|||
|
And if it sets on fire don't get out your jerry can of...
|
|||
|
...words and tones
|
|||
|
|
|||
|
And no one's gonna start a revolution
|
|||
|
So we best leave it well alone
|
|||
|
And there's something that Frankie used to say, Apparently
|
|||
|
Oh he says settle for a draw
|
|||
|
Well you're not gonna get no more
|
|||
|
So you should settle for a draw
|
|||
|
I told you once I'm sure
|
|||
|
I told you once I'm sure
|
|||
|
You should settle for a draw
|
|||
|
Why don't you settle for a draw?"
|
|||
|
104,She Looks Like Fun ,"One, two, three, four
|
|||
|
|
|||
|
She looks like fun
|
|||
|
She looks like fun
|
|||
|
She looks like fun
|
|||
|
She looks like
|
|||
|
|
|||
|
Smile like you've got a straw in something tropical
|
|||
|
I've got the party plugged right into my skull
|
|||
|
Wayne Manor, what a memorable N.Y.E
|
|||
|
|
|||
|
(She looks like fun)
|
|||
|
Good morning
|
|||
|
(She looks like fun)
|
|||
|
Cheeseburger
|
|||
|
(She looks like fun)
|
|||
|
Snowboarding
|
|||
|
(She looks like)
|
|||
|
|
|||
|
Finally, I can share with you through cloudy skies
|
|||
|
Every whimsical thought that enters my mind
|
|||
|
There ain't no limit to the length of the dickheads we can be
|
|||
|
|
|||
|
[Chorus]
|
|||
|
(She looks like fun)
|
|||
|
Bukowski
|
|||
|
(She looks like fun)
|
|||
|
Dogsitting
|
|||
|
(She looks like fun)
|
|||
|
Screwballing
|
|||
|
(She looks like)
|
|||
|
|
|||
|
Finally, there's a place where you can wag your tongue
|
|||
|
Baby, but why can't we all just get along?
|
|||
|
Dance as if somebody's watching, because they are
|
|||
|
|
|||
|
No one's on the streets
|
|||
|
We moved it all online
|
|||
|
As of March
|
|||
|
I'm so full of shite, I need to spend less time stood around in bars waffling on to strangers all about martial arts
|
|||
|
And how much I respect them
|
|||
|
|
|||
|
(She looks like fun)
|
|||
|
Key changes
|
|||
|
(She looks like fun)
|
|||
|
Re-thinking
|
|||
|
(She looks like fun)
|
|||
|
New order
|
|||
|
(She looks like fun)"
|
|||
|
105,She's Thunderstorms ,"She's thunderstorms
|
|||
|
Lying on her front
|
|||
|
Up against the wall
|
|||
|
She's thunderstorms
|
|||
|
|
|||
|
I've been feeling foolish
|
|||
|
You should try it
|
|||
|
She came and substituted
|
|||
|
The peace and quiet for
|
|||
|
Acrobatic blood flow
|
|||
|
Concertina cheating heart beat
|
|||
|
Rapid fire
|
|||
|
|
|||
|
She's thunderstorms
|
|||
|
Lying on her front
|
|||
|
Up against the wall
|
|||
|
She's thunderstorms
|
|||
|
Here is your host
|
|||
|
Sounds as if she's pretty close
|
|||
|
When the heat starts growing horns
|
|||
|
She's trunderstorms
|
|||
|
|
|||
|
She's been loop the looping
|
|||
|
Around my mind
|
|||
|
Her motorcycle boots give me
|
|||
|
This kind of acrobatic blood
|
|||
|
Concertina cheating heart beat
|
|||
|
Rapid fire
|
|||
|
|
|||
|
She's thunderstorms
|
|||
|
Lying on her front
|
|||
|
Up against the wall
|
|||
|
|
|||
|
She's thunderstorms
|
|||
|
In an unusual place
|
|||
|
When you're feeling far away
|
|||
|
She does what the night does to the day"
|
|||
|
106,Sketchead ,"He's coming to your party
|
|||
|
He's walking up your drive
|
|||
|
And he's swinging all his keys round
|
|||
|
Sketchead
|
|||
|
He's seen you with your top off
|
|||
|
He already knows your boyfriend
|
|||
|
retain your introductions
|
|||
|
Sketchead
|
|||
|
That cunt's a protagonist
|
|||
|
The pips in your quince
|
|||
|
They are behind the spoil
|
|||
|
The itch you can't itch in your ear
|
|||
|
And the knock that shattered your packet of peppermints
|
|||
|
|
|||
|
Sketchead
|
|||
|
There's poison in his spit
|
|||
|
He'll compliment your tits
|
|||
|
And leave you to your wits
|
|||
|
|
|||
|
Convincingly insisting the tyres were bald
|
|||
|
when you gave him the car
|
|||
|
Sketchead
|
|||
|
Still coming to your party
|
|||
|
Still walking up your drive
|
|||
|
And still swinging all his keys round on his finger
|
|||
|
As a pendulum to un nerve
|
|||
|
|
|||
|
And then there's you
|
|||
|
You've changed
|
|||
|
I approach you like you were the same
|
|||
|
But soon it was apparent a new name was required
|
|||
|
New lips went and fired accomplishments at me
|
|||
|
While I'm captivated by your magazine skin
|
|||
|
The tint on your limbs is obscures to begin
|
|||
|
And you know full well
|
|||
|
That anyone who says that
|
|||
|
They don't prefer the sequel
|
|||
|
Will still be swinging on themselves tonight"
|
|||
|
107,Snap Out Of It ,"What's been happening in your world?
|
|||
|
What have you been up to?
|
|||
|
I heard that you fell in love or near enough
|
|||
|
I gotta tell you the truth yeah
|
|||
|
|
|||
|
I want to grab both your shoulders and shake baby
|
|||
|
Snap out of it (snap out of it)
|
|||
|
I get the feeling I left it too late, but baby
|
|||
|
Snap out of it (snap out of it)
|
|||
|
|
|||
|
If that watch don't continue to swing
|
|||
|
Or the fat lady fancies having a sing
|
|||
|
I'll be here waiting ever so patiently for you to
|
|||
|
Snap out of it
|
|||
|
|
|||
|
Forever isn't for everyone
|
|||
|
Is forever for you?
|
|||
|
It sounds like settling down or giving up
|
|||
|
But it don't sound much like you girl
|
|||
|
|
|||
|
I want to grab both your shoulders and shake baby
|
|||
|
Snap out of it (snap out of it)
|
|||
|
I get the feeling I left it too late, but baby
|
|||
|
Snap out of it (snap out of it)
|
|||
|
|
|||
|
If that watch don't continue to swing
|
|||
|
Or the fat lady fancies having a sing
|
|||
|
I'll be here waiting ever so patiently for you to
|
|||
|
Snap out of it
|
|||
|
|
|||
|
Under a spell you're hypnotized
|
|||
|
Darling how could you be so blind?
|
|||
|
|
|||
|
I want to grab both your shoulders and shake baby
|
|||
|
Snap out of it (snap out of it)
|
|||
|
I get the feeling I left it too late, but baby
|
|||
|
Snap out of it (snap out of it)
|
|||
|
|
|||
|
If that watch don't continue to swing
|
|||
|
Or the fat lady fancies having a sing
|
|||
|
I'll be here waiting ever so patiently for you to
|
|||
|
Snap out of it"
|
|||
|
108,Space Invaders ,"Space invaders flying home
|
|||
|
And they're going to hit the sack
|
|||
|
And they're probably gonna die getting high
|
|||
|
'Cause they're mixing crazy moments with the crack
|
|||
|
|
|||
|
And she's kissing all the boys
|
|||
|
But she's too clever to be slack
|
|||
|
But she's bound to go away for a day
|
|||
|
And she' like it, so she won't be coming back
|
|||
|
|
|||
|
Baby, baby, baby
|
|||
|
Your good old days have died
|
|||
|
Baby, baby, baby
|
|||
|
Now won't you dry your pretty eyes?
|
|||
|
Baby, baby, baby
|
|||
|
Your good old days are dead
|
|||
|
So come on
|
|||
|
|
|||
|
Spot big bell bottom cords
|
|||
|
And a matching with a hat
|
|||
|
And you're a rule breaker, baby
|
|||
|
Can't you see me standing
|
|||
|
Only in your way to hit the sack?
|
|||
|
|
|||
|
And she's kissing all the boys
|
|||
|
But she's too clever to be slack
|
|||
|
But she's bound to go away for a day
|
|||
|
And she' like it, so she won't be coming back
|
|||
|
|
|||
|
Baby, baby, baby
|
|||
|
Your good old days have died
|
|||
|
Baby, baby, baby
|
|||
|
Now won't you dry your pretty eyes?
|
|||
|
Baby, baby, baby
|
|||
|
Your good old days are dead
|
|||
|
So come on"
|
|||
|
109,Star Treatment ,"I just wanted to be one of The Strokes
|
|||
|
Now look at the mess you made me make
|
|||
|
Hitchhiking with a monogrammed suitcase
|
|||
|
Miles away from any half-useful imaginary highway
|
|||
|
I'm a big name in deep space
|
|||
|
Ask your mates but golden boy's in bad shape
|
|||
|
I found out the hard way that here ain't no place for dolls like you and me
|
|||
|
Everybody's on a bridge floating down the endless stream of great TV
|
|||
|
1984 2019
|
|||
|
|
|||
|
Maybe I was a little too wild in the 70s
|
|||
|
Rocket-ship grease down the cracks of my knuckles
|
|||
|
Karate bandana
|
|||
|
Warp speed chic
|
|||
|
Hair down to there
|
|||
|
Impressive moustache
|
|||
|
Love came in a bottle with a twist off cap
|
|||
|
Let's all have a swig and do a hot lap
|
|||
|
|
|||
|
So who you gonna call?
|
|||
|
The martini police baby that isn't how they look tonight
|
|||
|
It took the light forever to get to your eyes
|
|||
|
|
|||
|
I just wanted to be one of those ghosts you thought that you could forget and then I haunt you via the rear view mirror on a long drive from the back seat
|
|||
|
But it's alright because you love me and you recognise that it's ain't how it should be
|
|||
|
Your eyes are heavy and the weather's getting ugly so pull over
|
|||
|
I know the place don't know an apparition is a cheap date
|
|||
|
What exactly is it you've been drinking these days?
|
|||
|
Jukebox in the corner
|
|||
|
Long hot summer
|
|||
|
They've got a film up on the wall and it's dark enough to dance
|
|||
|
What do you mean you've never seen Blade Runner?
|
|||
|
|
|||
|
Maybe I was a little too wild in the 70s
|
|||
|
Back down to earth with a lounge singer shimmer
|
|||
|
Elevator down to my make believe residency from the honeymoon suite
|
|||
|
Two shows a day four nights a week
|
|||
|
Easy money
|
|||
|
|
|||
|
So who you gonna call?
|
|||
|
The martini police baby that isn't how they look tonight
|
|||
|
It took the light absolutely forever to get to your eyes
|
|||
|
And as we gaze skyward, ain't it dark early?
|
|||
|
It's the star treatment"
|
|||
|
110,Stickin' To The Floor ,"Won't somebody let me out!
|
|||
|
Don't wanna stick around no more
|
|||
|
I said they're looking at yer strange
|
|||
|
I said yer stickin' to the floor
|
|||
|
|
|||
|
Not one of you's got an ounce of style in yer
|
|||
|
So now one of you's gonna have to stop!
|
|||
|
|
|||
|
Fucking hell I'll break your nose
|
|||
|
If they keep on pushing you around
|
|||
|
Keep on steeping on your toes
|
|||
|
I'll pick you up when you fall down
|
|||
|
|
|||
|
Not one of you's got an ounce of style in yer
|
|||
|
Said not one of you, no
|
|||
|
|
|||
|
Not one of you's got an ounce of style in yer
|
|||
|
So now one of you's gonna have to stop!
|
|||
|
|
|||
|
Ah ah, ah ah, oh!
|
|||
|
Ah ah, ah ah, oh
|
|||
|
Yea, yea, yea!
|
|||
|
|
|||
|
Not one of you's got an ounce of style in yer
|
|||
|
Said not one of you, no"
|
|||
|
111,Still Take You Home ,"Oh it's ever so funny
|
|||
|
I don't think you're special
|
|||
|
I don't think you're cool
|
|||
|
You're just probably alright
|
|||
|
But under these lights you look beautiful
|
|||
|
|
|||
|
And I'm strugglin'
|
|||
|
I can't see through your fake tan
|
|||
|
Yeah, you know it for a fact
|
|||
|
That everybody's eatin' out of your hands
|
|||
|
|
|||
|
But what do you know?
|
|||
|
Oh you know nothing
|
|||
|
Yeah, but I'll still take you home
|
|||
|
Yeah, I'll still take you home
|
|||
|
So what do you know?
|
|||
|
Said you don't know nothing
|
|||
|
|
|||
|
Well fancy seein' you in here
|
|||
|
You're all tarted up
|
|||
|
And you don't look the same
|
|||
|
Well I haven't seen you since last year
|
|||
|
Yeah surprisingly
|
|||
|
You have forgot my name
|
|||
|
|
|||
|
But you know it
|
|||
|
Yeah, you knew it all along
|
|||
|
Oh you say you have forgotten
|
|||
|
But you're fibbing
|
|||
|
Go on tell me I'm wrong
|
|||
|
|
|||
|
So what do you know?
|
|||
|
Oh you know nothing
|
|||
|
Yeah, but I'll still take you home
|
|||
|
Yeah, I'll still take you home
|
|||
|
So what do you know?
|
|||
|
Oh you don't know nothing, no
|
|||
|
|
|||
|
I say what do you know?
|
|||
|
That you don't know nothing, no
|
|||
|
Yeah, but I'll still take you home
|
|||
|
Yeah, I'll still take you home
|
|||
|
I said what do you know?
|
|||
|
Oh you don't know nothing
|
|||
|
|
|||
|
I fancy you with a passion
|
|||
|
You're a Topshop princess, a rockstar too
|
|||
|
But you're a fad, you're a fashion
|
|||
|
And I'm having a job trying to talk to you
|
|||
|
|
|||
|
But it's alright, yeah I'll put it all on one-side
|
|||
|
Oh 'cause everybody's looking
|
|||
|
You've got control of everyone's eyes
|
|||
|
Including mine"
|
|||
|
112,Stop The World I Wanna Get Off With You ,"Open Sesame (We've places to go)
|
|||
|
We've people to see (Let's put 'em on hold*)
|
|||
|
There's all sorts of shapes, that I bet you can make
|
|||
|
When you want to escape say the word
|
|||
|
|
|||
|
Well I know, that getting you alone isn't easy to do
|
|||
|
With the exception of you I dislike everyone in the room
|
|||
|
And I don't wanna lie, but I don't wanna tell you the truth
|
|||
|
Get the sense that you're on the move
|
|||
|
And you'll probably be leaving soon, so I'm telling you
|
|||
|
|
|||
|
Stop the world cause I wanna get off with you
|
|||
|
Stop the world cause I wanna get off with you
|
|||
|
|
|||
|
Eyes the colour of (Water left in mud)
|
|||
|
Icing sugar dust (Crazy green flashes)
|
|||
|
It's a funny thing, that I cannot explain
|
|||
|
Don't you know the train keeps a-rolling?
|
|||
|
|
|||
|
Stop the world cause I wanna get off with you
|
|||
|
Stop the world cause I wanna get off with you
|
|||
|
|
|||
|
Well I know that getting you alone isn't easy to do
|
|||
|
And I don't wanna lie and I don't wanna tell you the truth
|
|||
|
And I know we got places to go, we got people to see
|
|||
|
Think we both oughta put 'em on hold and I know you agree
|
|||
|
|
|||
|
Stop the world cause I wanna get off with you
|
|||
|
Stop the world cause I wanna get off with you"
|
|||
|
113,Strange (cover Patsy Cline) ,"Strange, how you stopped loving me
|
|||
|
How you stopped needing me
|
|||
|
When she came along
|
|||
|
Oh, how strange
|
|||
|
|
|||
|
Strange, you changed like night and day
|
|||
|
Just up and walked away
|
|||
|
When she came along
|
|||
|
Oh, how strange
|
|||
|
|
|||
|
Well, I guess that I was just your puppet
|
|||
|
You held on a string
|
|||
|
To think I thought you really loved me
|
|||
|
But look what thoughts can bring
|
|||
|
|
|||
|
Strange, you're still in all my dreams
|
|||
|
Oh what a funny thing
|
|||
|
I still care for you
|
|||
|
Oh, how strange
|
|||
|
|
|||
|
Strange, you're still in all my dreams
|
|||
|
Oh what a funny thing
|
|||
|
I still care for you
|
|||
|
Oh, how strange
|
|||
|
|
|||
|
How strange"
|
|||
|
114,Suck It And See ,"Your love is like a studded leather headlock
|
|||
|
Your kiss... it could put creases in the rain
|
|||
|
You're rarer than a can of Dandelion & Burdock
|
|||
|
And those other girls are just postmix lemonade
|
|||
|
|
|||
|
Suck it and see, you never know
|
|||
|
Sit next to me before I go
|
|||
|
Jigsaw women with horror movie shoes
|
|||
|
Be cruel to me 'cause I'm a fool for you
|
|||
|
|
|||
|
I poured my aching heart into a pop song
|
|||
|
I couldn't get the hang of poetry
|
|||
|
That's not a skirt, girl, that's a sawn-off shotgun
|
|||
|
And I can only hope you've got it aimed at me
|
|||
|
|
|||
|
Suck it and see, you never know
|
|||
|
Sit next to me before I go
|
|||
|
Jigsaw women with horror movie shoes
|
|||
|
Be cruel to me 'cause I'm a fool for you
|
|||
|
|
|||
|
Blue moon girls from once upon a Shangri-La
|
|||
|
How I often wonder where you are
|
|||
|
You have got that face that just says:
|
|||
|
""Baby, I was made to break your heart""
|
|||
|
|
|||
|
Suck it and see, you never know
|
|||
|
Sit next to me before I go
|
|||
|
Go
|
|||
|
Go
|
|||
|
Go
|
|||
|
|
|||
|
Jigsaw women with horror movie shoes
|
|||
|
Be cruel to me 'cause I'm a fool for you"
|
|||
|
115,Take It Or Leave It ,"Leave me alone
|
|||
|
I'm in control, I'm in control
|
|||
|
And girls act too much and boys act too tough
|
|||
|
Enough is enough
|
|||
|
|
|||
|
We're on the minds of other men I know she was
|
|||
|
And take it or leave it
|
|||
|
And take it or leave it
|
|||
|
And take it or leave it
|
|||
|
Oh just take it or leave it
|
|||
|
And take it or leave it
|
|||
|
Oh, take it
|
|||
|
|
|||
|
I say, hes going to let you down
|
|||
|
He's going to let you down
|
|||
|
He's going to let you down
|
|||
|
And going to break your back for a chance
|
|||
|
And going to steal your friends if he can
|
|||
|
He's going to win someday
|
|||
|
|
|||
|
I fell off the track
|
|||
|
Now I can't go back
|
|||
|
I'm not like that
|
|||
|
Boys act too much, girls act too tough
|
|||
|
Enough is enough
|
|||
|
|
|||
|
Well on the minds of other girls iIknow he was
|
|||
|
I said just take it or leave it
|
|||
|
And take it or leave it
|
|||
|
And take it or leave it
|
|||
|
And take it or leave it
|
|||
|
Oh just take it or leave it
|
|||
|
And take it or leave it
|
|||
|
Oh, take it
|
|||
|
|
|||
|
I say, he's going to let you down
|
|||
|
He's going to let you down
|
|||
|
He's going to let you down
|
|||
|
And going to break your back for a chance
|
|||
|
And going to steal your friends if he can
|
|||
|
He's going to win someday
|
|||
|
Oh he will"
|
|||
|
116,Teddy Picker ,"They've sped up to the point where they provoke
|
|||
|
The punch-line before they have told the joke
|
|||
|
Plenty of desperation to be seen
|
|||
|
Staring at the television screen
|
|||
|
|
|||
|
They've sped up to the point where they provoke you
|
|||
|
To tell the fucking punch-line before you have told the joke
|
|||
|
I'm sorry, sunshine, it doesn't exist
|
|||
|
It wasn't in the top 100 list
|
|||
|
|
|||
|
It's the 1000th time that it's even bolder
|
|||
|
Don't be surprised when you get bent over
|
|||
|
They told you but you were dying for it
|
|||
|
|
|||
|
Saw it and she grabbed it and it wasn't what it seemed
|
|||
|
The kids all dream of making it, whatever that means
|
|||
|
|
|||
|
Another variation on a theme
|
|||
|
A tangle on the television and the magazine
|
|||
|
D'you reckon that they do it for a joke?
|
|||
|
D'you reckon that they make them take an oath
|
|||
|
That says that ""We are defenders
|
|||
|
Of any poser or professional
|
|||
|
Pretender around""
|
|||
|
|
|||
|
When did your list
|
|||
|
Replace the twist and turn like a fist
|
|||
|
Replaced a kiss, don't concern
|
|||
|
Us with your bollocks
|
|||
|
I don't want your prayer
|
|||
|
Save it for the morning after
|
|||
|
|
|||
|
And it's the 1000th time that it's even bolder
|
|||
|
Don't be surprised when you get bent over
|
|||
|
They told you but you were gagging for it
|
|||
|
|
|||
|
Let's have a game on the teddy picker
|
|||
|
Not quick enough can I have it quicker
|
|||
|
Already thick and your getting thicker
|
|||
|
|
|||
|
Let's have a game on the teddy picker
|
|||
|
Not quick enough can I have it quicker
|
|||
|
Already thick and your getting thicker
|
|||
|
|
|||
|
Presuming all things are equal
|
|||
|
Who'd want to be man of the people
|
|||
|
When there's people like you"
|
|||
|
117,Temptation Greets You Like Your Naughty Friend ,"[Alex Turner]
|
|||
|
I don't ever want to hate you,
|
|||
|
So don't show me your bed,
|
|||
|
The only roads are cul-de-sacs,
|
|||
|
The first thing that she said.
|
|||
|
|
|||
|
Temptation, greets you like your naughty mate,
|
|||
|
The one that used to get you in bother,
|
|||
|
But one you could never bring yourself to hate.
|
|||
|
|
|||
|
And she said we've got that spark,
|
|||
|
That only lights a fuse,
|
|||
|
Helps you see in the dark,
|
|||
|
But it's a sight you'll lose when,
|
|||
|
The temptation greets you like your naughty friend.
|
|||
|
|
|||
|
I don't ever want to hate you,
|
|||
|
So don't show me your bed,
|
|||
|
The only roads are cul-de-sacs,
|
|||
|
The only ends are dead.
|
|||
|
|
|||
|
Temptation greets you like your naughty mate,
|
|||
|
One that made you steal and set things on fire,
|
|||
|
But one you haven't seen of late.
|
|||
|
|
|||
|
And I said that kind of talk,
|
|||
|
Only adds intrigue,
|
|||
|
To the cauldron of thought,
|
|||
|
It's already exceeding,
|
|||
|
Temptation, the very thing that held her back.
|
|||
|
|
|||
|
I don't ever want to hate you,
|
|||
|
So don't show me your bed,
|
|||
|
The only roads are cul-de-sacs,
|
|||
|
The only ends are dead.
|
|||
|
|
|||
|
I don't ever want to hate you,
|
|||
|
It's not part of the plan,
|
|||
|
So keep your charm where I can't see it,
|
|||
|
|
|||
|
And your hands where I can.
|
|||
|
|
|||
|
[Dizzee Rascal]
|
|||
|
We used to be in tight me and my naughty friends,
|
|||
|
Caused bare madness in the ends,
|
|||
|
I mean day 'n' night,
|
|||
|
We robbed, we stole, we loved to fight,
|
|||
|
Smoking, drinking, joyriding,
|
|||
|
Drugs, thugs, not law-abiding,
|
|||
|
Reckless gangsters no direction,
|
|||
|
No sign of correction,
|
|||
|
But then i switched it up,
|
|||
|
Changed my ways,
|
|||
|
What the hell!
|
|||
|
Like oh my days ,
|
|||
|
But like my naughty friends,
|
|||
|
They're not phased,
|
|||
|
Can't believe that this music pays,
|
|||
|
See no reason why we can't do,
|
|||
|
All the things we've always done,
|
|||
|
Still in my heart I know thats just what,
|
|||
|
But its hard to fight the temptation son.
|
|||
|
|
|||
|
[Alex Turner]
|
|||
|
The panic will fall down around you,
|
|||
|
If you don't do what i say.
|
|||
|
|
|||
|
I don't ever want to hate you,
|
|||
|
So don't show me your bed,
|
|||
|
The only roads are cul-de-sacs,
|
|||
|
The only ends are dead.
|
|||
|
|
|||
|
I don't ever want to hate you,
|
|||
|
It's not part of the plan,
|
|||
|
So keep your charm where I can't see it,
|
|||
|
And your hands where I can."
|
|||
|
118,That’s Where You’re Wrong ,"Pussyfooting setting sun
|
|||
|
Make a wish that weighs a tonne
|
|||
|
There are no handles for you to hold
|
|||
|
No understanding where it goes
|
|||
|
|
|||
|
Jealousy in technicolour
|
|||
|
Fear by name love by numbers
|
|||
|
Street lamps amber wanderlust
|
|||
|
Powder in a blunderbus
|
|||
|
|
|||
|
She looks as if she’s blowing a kiss at me
|
|||
|
And suddenly the sky is a scissor
|
|||
|
Sitting on the floor with a tambourine
|
|||
|
Crushing up a bundle of love
|
|||
|
Don’t take it so personally
|
|||
|
You’re not the only one
|
|||
|
That time's got it in for honey
|
|||
|
That’s where you’re wrong
|
|||
|
|
|||
|
All the old flames fastened on
|
|||
|
Make a wish that weighs a tonne
|
|||
|
There are no handles you can hold
|
|||
|
And no understanding where it goes
|
|||
|
|
|||
|
She looks as if she’s blowing a kiss at me
|
|||
|
And suddenly the sky is a scissor
|
|||
|
Sitting on the floor with a tambourine
|
|||
|
Crushing up a bundle of love
|
|||
|
Don’t take it so personally
|
|||
|
You’re not the only one
|
|||
|
That time's got it in for honey
|
|||
|
That’s where you’re wrong
|
|||
|
That’s where you’re wrong
|
|||
|
That’s where you’re wrong, oh"
|
|||
|
119,The Afternoon's Hat ,"Made me kiss ya' with a whisper
|
|||
|
And violently you swung, through unfamiliar tounge
|
|||
|
Couldn't listen to tradition, grabbed me by the wrist to silently insist
|
|||
|
|
|||
|
And when i'm in the confines of crawling walls, you hold me in place
|
|||
|
The ripples on the ceiling the avenues, unsugared taste
|
|||
|
Waste away the evening, the afternoon, the afternoons hat
|
|||
|
Together we'll find something to direct some laughter at
|
|||
|
|
|||
|
You stood shirtless and confident
|
|||
|
Listenin' to the fools, tickling the rules
|
|||
|
Their obsessions follow patterns
|
|||
|
Sat upon their stools, with their attitudes
|
|||
|
|
|||
|
And when i'm in the confines of crawling walls, you hold me in place
|
|||
|
The ripples on the ceiling the avenues, unsugared taste
|
|||
|
Waste away the evening, the afternoon, the afternoons hat
|
|||
|
Together we'll find something to direct some laughter at
|
|||
|
|
|||
|
And when i'm in the confines of crawling walls, you hold me in place
|
|||
|
The ripples on the ceiling the avenues, unsugared taste
|
|||
|
Waste away the evening, the afternoon, the afternoons hat
|
|||
|
Together we'll find something to direct some laughter at."
|
|||
|
120,The Bad Thing ,"Do the bad thing
|
|||
|
Take off your wedding ring
|
|||
|
But it won't make it
|
|||
|
That much easier
|
|||
|
It might make it worse
|
|||
|
|
|||
|
Oh the nights like a whirlwind
|
|||
|
Somebody's girlfriend's talkin to me
|
|||
|
But it's alright, she's sayin that
|
|||
|
He's not gonna slap me or try to attack me
|
|||
|
He's not the jealous type
|
|||
|
|
|||
|
And I only need to get half an excuse and I'm away
|
|||
|
But when there's no excuses that's much easier to say
|
|||
|
I've been before
|
|||
|
And all these capers makers to good for her to ignore
|
|||
|
So she's talkin but I'm not entirely sure
|
|||
|
|
|||
|
Do the bad thing
|
|||
|
Take off your wedding ring
|
|||
|
But it won't make it
|
|||
|
That much easier
|
|||
|
It might make it worse
|
|||
|
|
|||
|
I'm stood at the side
|
|||
|
And somebody's partner's talkin to me
|
|||
|
But I don't know that is what she is
|
|||
|
And she murmors things to confirm
|
|||
|
That the tragedy is true
|
|||
|
And I knew how could she not
|
|||
|
She could have anyone she wants
|
|||
|
And I was strugglin to think of an immediate response
|
|||
|
|
|||
|
Like ""I don't mind
|
|||
|
Be a big mistake
|
|||
|
For you to wait
|
|||
|
And let me waste your time
|
|||
|
Really love, it's fine""
|
|||
|
Said ""really love, it's fine""
|
|||
|
|
|||
|
And then the first time it occured
|
|||
|
That there was something to destroy
|
|||
|
I knew before the invitation that there was this ploy
|
|||
|
Oh but she carried on suggestin
|
|||
|
I struggled to refuse
|
|||
|
She said ""it's the red wine this time but that is no excuse"""
|
|||
|
121,The Bakery ,"I wish you would have smiled in the bakery
|
|||
|
Or sat on a tatty settee
|
|||
|
At some mutual friend's gathering
|
|||
|
And the more you keep on looking the more it's hard to take
|
|||
|
Love, we're in stalemate
|
|||
|
To never meet it surely where we're bound
|
|||
|
There's one in every town
|
|||
|
Just there to grind you down
|
|||
|
|
|||
|
I wish I would have seen you in the post office
|
|||
|
Well maybe I did and I missed it
|
|||
|
Too busy with a mind on clever lines
|
|||
|
Why not the rounder's pitch or the canteen?
|
|||
|
You're slacking love where have you been?
|
|||
|
Just had to go and wait until tonight
|
|||
|
So give me the invite don't worry it's alright
|
|||
|
|
|||
|
I wish I would have seen you down in the arcade
|
|||
|
Sipping on a lemonade
|
|||
|
In the paper cup and chewing on the straw
|
|||
|
And I wish I'd seen you in the bakery
|
|||
|
But if I'd seen you in the bakery
|
|||
|
You probably wouldn't have seen me"
|
|||
|
122,The Blond,"Black as a beacon
|
|||
|
In a river of shimmering fog
|
|||
|
Yes she was
|
|||
|
If you were heat seeking
|
|||
|
She was hard to ignore
|
|||
|
Yes she was
|
|||
|
|
|||
|
And she snapped wing mirrors off a Cadillac
|
|||
|
The particularly pretty one
|
|||
|
And that meant she never had to strain her back
|
|||
|
When she was putting her lippy on
|
|||
|
|
|||
|
Well time tastes bland
|
|||
|
When she's not around
|
|||
|
And you'd sit and you'd sink and approach the brink
|
|||
|
Before she showed you how to shake love's steady hand
|
|||
|
Tha' knows
|
|||
|
|
|||
|
And she snapped wing mirrors off a Cadillac
|
|||
|
The particularly pretty one
|
|||
|
And that meant she never had to strain her back
|
|||
|
When she was putting her lippy on
|
|||
|
|
|||
|
Shake love's steady hand
|
|||
|
Shake love's steady
|
|||
|
She floats like an niccy rush but she stings like a b-flat
|
|||
|
The blond-o-sonic shimmer trap
|
|||
|
|
|||
|
And she snapped wing mirrors off a Cadillac
|
|||
|
The particularly pretty one
|
|||
|
And that meant she never had to strain her back
|
|||
|
When she was putting her lippy on"
|
|||
|
123,The Car ,"Your grandfather's guitar
|
|||
|
Thinking about how funny I must look
|
|||
|
Trying to adjust to what's been there all along
|
|||
|
With the boat kiosk lady and her sleepy amigos
|
|||
|
But it ain't a holiday until
|
|||
|
You go to fetch something from the car
|
|||
|
A travel size champagne cork pops
|
|||
|
And we're sweeping for bugs in some dusty apartment
|
|||
|
The what's it called café
|
|||
|
You can arrive at eleven and have lunch with the English
|
|||
|
But it ain't a holiday until
|
|||
|
They force you to make a wish
|
|||
|
They say ""climb up this""
|
|||
|
And ""jump off that""
|
|||
|
And you pretend to fall asleep on the way back
|
|||
|
No, it ain't a holiday until
|
|||
|
You go to fetch something from the car"
|
|||
|
124,The Fire And The Thud ,"You showed me my tomorrow
|
|||
|
Beside a box of matches
|
|||
|
A welcome threatening stir
|
|||
|
|
|||
|
My hopes of being stolen
|
|||
|
Might just ring true
|
|||
|
Depends who you prefer
|
|||
|
|
|||
|
But if it's true you're gonna run away
|
|||
|
Tell me where
|
|||
|
I'll meet you there
|
|||
|
|
|||
|
Am I snapping the excitement
|
|||
|
If I pack away the laguther
|
|||
|
And tell you how it feels
|
|||
|
|
|||
|
And does burden come to meet ya
|
|||
|
If I've questions of the feature that runs on your dream wheel
|
|||
|
|
|||
|
The day after you stole my heart,
|
|||
|
Everything I touched told me it would be better shared with you
|
|||
|
|
|||
|
And you're hiding in my soup
|
|||
|
And the book reveals your face
|
|||
|
And there's a splashing in my eyelids
|
|||
|
The concentration continually breaks
|
|||
|
|
|||
|
I did request the mark you cast
|
|||
|
Didn't heal as fast
|
|||
|
I hear your vioce in silences
|
|||
|
Will the teasing of the fire be followed by the thud?
|
|||
|
|
|||
|
And the jostling crowd
|
|||
|
You're not allowed to tell the truth
|
|||
|
And the photobooth's a liar
|
|||
|
And the sharpened explanations
|
|||
|
But theres no screaming reason to inquire
|
|||
|
I'd like to poke them in their prying eyes with things they never see if it smacks in their temples"
|
|||
|
125,The Hellcat Spangled Shalala ,"Just when things are getting complicated in the eye of the storm
|
|||
|
She flicks a red-hot revelation off the tip of her tongue
|
|||
|
It does a dozen somersaults and leaves you supercharged
|
|||
|
Makes me want to blow the candles out just to see if you glow in the dark
|
|||
|
|
|||
|
Shalalala
|
|||
|
Shalalala
|
|||
|
Shalalala
|
|||
|
Shalalala
|
|||
|
|
|||
|
Home sweet home, home sweet home, home sweet booby-trap
|
|||
|
I took the batteries out my mysticism and put ‘em in my thinking cap
|
|||
|
She’s got a telescopic hallelujah hanging up on the wall
|
|||
|
For when it gets too complicated in the eye of the storm
|
|||
|
|
|||
|
Shalalala
|
|||
|
Shalalala
|
|||
|
Shalalala
|
|||
|
Shalalala
|
|||
|
|
|||
|
Oh…
|
|||
|
|
|||
|
And in a hellcat spangled cavern
|
|||
|
When your judgement’s on the run
|
|||
|
And you’re acting like a stranger
|
|||
|
Because you thought it looked like fun
|
|||
|
|
|||
|
And did you ever get the feeling
|
|||
|
That these are things she's said before
|
|||
|
Her steady hands may well have done the devil’s pedicure
|
|||
|
|
|||
|
What you waiting for?
|
|||
|
Sing another fuckin’ Shalalala
|
|||
|
|
|||
|
Shalalala
|
|||
|
Shalalala
|
|||
|
Shalalala"
|
|||
|
126,The Jeweller's Hands ,"Fiendish wonder in the carnival's wake
|
|||
|
Dull caresses once again irritate
|
|||
|
Tread softly stranger
|
|||
|
Move over toward the danger that you seek
|
|||
|
|
|||
|
You think excitement has receded
|
|||
|
Then the mirror distracts
|
|||
|
The logic of the trance
|
|||
|
Quickly reaches and grasps
|
|||
|
Handsome and faceless
|
|||
|
And weightless, your imagination runs
|
|||
|
|
|||
|
And now it's no ones fault but yours
|
|||
|
At the foot of the house of cards
|
|||
|
You thought you'd never get obsessed
|
|||
|
You thought the wolves would be impressed
|
|||
|
And you're a sinking stone
|
|||
|
But you know what it's like to hold the jeweller's hands
|
|||
|
That procession of pioneers all drowned
|
|||
|
|
|||
|
In the moonlight they're more thrilling
|
|||
|
Those things that he knows
|
|||
|
As he leads you through the grinning
|
|||
|
Bubble blowers in the snow
|
|||
|
Watching his exit
|
|||
|
Was like falling off the ferry in the night
|
|||
|
|
|||
|
The inevitables gather to push you around
|
|||
|
Any other voice makes such a punishing sound
|
|||
|
He became laughter's assassin
|
|||
|
Shortly after he showed you what it was
|
|||
|
|
|||
|
And now it's no ones fault but yours
|
|||
|
At the foot of the house of cards
|
|||
|
You thought you'd never get obsessed
|
|||
|
You thought the wolves would be impressed
|
|||
|
And you're a sinking stone
|
|||
|
But you know what it's like to hold the jeweller's hands
|
|||
|
That procession of pioneers all drowned
|
|||
|
|
|||
|
If you've a lesson to teach me,
|
|||
|
I'm listening, ready to learn
|
|||
|
There's no one here to police me,
|
|||
|
I'm sinking in, until you return
|
|||
|
If you've a lesson to teach me,
|
|||
|
Don't deviate, don't be afraid
|
|||
|
Without the last corner piece I can't calibrate,
|
|||
|
Let's get it ingrained
|
|||
|
|
|||
|
If you've a lesson to teach me,
|
|||
|
I'm listening, ready to learn
|
|||
|
There's no one here to police me,
|
|||
|
I'm sinking in, until you return
|
|||
|
If you've a lesson to teach me,
|
|||
|
Don't deviate, don't be afraid
|
|||
|
Without the last corner piece I can't calibrate,
|
|||
|
Let's get it ingrained
|
|||
|
|
|||
|
If you've a lesson to teach me,
|
|||
|
I'm listening, ready to learn
|
|||
|
There's no one here to police me,
|
|||
|
I'm sinking in, until you return
|
|||
|
If you've a lesson to teach me,
|
|||
|
Don't deviate, don't be afraid
|
|||
|
Without the last corner piece I can't calibrate,
|
|||
|
Let's get it ingrained"
|
|||
|
127,The Lovers ,"Up from the pastures of boredom
|
|||
|
out from the sea of discontent
|
|||
|
they come in packs like hungry hounds
|
|||
|
the seekers of the dark enchantment.
|
|||
|
|
|||
|
They haunt the boulevards and bars
|
|||
|
they pray to wishing wells and stars
|
|||
|
they ride the hurricane of hope
|
|||
|
not looking back but on they go
|
|||
|
toward the distance and deceiving
|
|||
|
and all the while they keep believing
|
|||
|
that they are special and apart
|
|||
|
the lovers, the lovers of the heart... the lovers.
|
|||
|
|
|||
|
And when they pair off two by two
|
|||
|
they feel they are the chosen few
|
|||
|
and though their beds are made of straw
|
|||
|
they feel like velvet in the night
|
|||
|
and so the night is never ending
|
|||
|
it's made of distance and pretending
|
|||
|
because they're special and apart
|
|||
|
the lovers, the lovers of the heart... the lovers.
|
|||
|
|
|||
|
And when love goes away
|
|||
|
and when goes...
|
|||
|
goodbye...
|
|||
|
catches in their throats like cotton
|
|||
|
arises in their hearts like rain
|
|||
|
the good times suddenly are all forgotten
|
|||
|
the hunt begins again.
|
|||
|
|
|||
|
They search the subways and the streets
|
|||
|
their faces tired, like their feet
|
|||
|
their bodies aching to be warm
|
|||
|
and so they hide behind the moon
|
|||
|
their loneliness inside them growing
|
|||
|
but they take comfort in just knowing
|
|||
|
that they are special and apart
|
|||
|
the lovers, the lovers of the heart... the lovers.
|
|||
|
|
|||
|
And when love comes again
|
|||
|
and when love comes
|
|||
|
hello...
|
|||
|
arises from their throats like singing
|
|||
|
catches in their hearts like wind
|
|||
|
the good things
|
|||
|
strangers in their arms are bringing
|
|||
|
makes life all right again.
|
|||
|
|
|||
|
They turn their faces to the light
|
|||
|
no longer hiding in the night
|
|||
|
so unashamed and unafraid
|
|||
|
that they can face each other's faults
|
|||
|
and though the waltz will have its ending
|
|||
|
there is no harm in just pretending
|
|||
|
that they are special and apart
|
|||
|
the lovers, the lovers of the heart... the lovers."
|
|||
|
128,The Nettles ,"Sank into their calculations and snorted on a stench
|
|||
|
a bare arithmetic
|
|||
|
look for the boy who was hanging his head low
|
|||
|
more trophies and ideas
|
|||
|
to follow their pretend.
|
|||
|
|
|||
|
with a scowl in his pocket and a smile on his face
|
|||
|
he followed with obedience and fell in the nettles.
|
|||
|
|
|||
|
I flew in some spiked meniscus and he bought his own rope
|
|||
|
and skipped against the rode
|
|||
|
did start not to find the dark lead and catch that man i hope
|
|||
|
devices man are closed
|
|||
|
he lost all his foot holes.
|
|||
|
|
|||
|
and with a scowl in his pocket and a smile on his face
|
|||
|
he followed with obedience and fell in the nettles,fell in the nettles, fell in the nettles
|
|||
|
|
|||
|
he was a toothpick and the garlic and the cinder upon the pub
|
|||
|
failed to blunt or hinder, a slow collapse
|
|||
|
and clinging to the door frame he was trapped
|
|||
|
after a reminder of where he had been
|
|||
|
|
|||
|
with a smile in his pocket and a scowl on his face
|
|||
|
there was nowhere to flee
|
|||
|
just had to tent in the nettles"
|
|||
|
129,The Ultracheese ,"Still got pictures of friends on the wall
|
|||
|
I suppose we aren't really friends anymore
|
|||
|
Maybe I shouldn't ever have called that thing friendly at all
|
|||
|
Get freaked out from a knock at the door
|
|||
|
When I haven't been expecting one
|
|||
|
Didn't that used to be part of the fun, once upon a time?
|
|||
|
|
|||
|
We'll be there at the back of the bar
|
|||
|
In a booth like we usually were
|
|||
|
Every time there was a rocket launch or some big event
|
|||
|
What a death I died writing that song
|
|||
|
From start to finish, with you looking on
|
|||
|
|
|||
|
It stays between us, Steinway, and his sons
|
|||
|
Because it's the ultracheese
|
|||
|
|
|||
|
Perhaps it's time that you went for a walk
|
|||
|
Dressed like a fictional character
|
|||
|
From a place they called America in the golden age
|
|||
|
Trust the politics to come along
|
|||
|
When you were just trying to orbit the sun
|
|||
|
When you were just about to be kind to someone
|
|||
|
Because you had the chance
|
|||
|
|
|||
|
I've still got pictures of friends on the wall
|
|||
|
I might look as if I'm deep in thought
|
|||
|
But the truth is I'm probably not
|
|||
|
If I ever was
|
|||
|
|
|||
|
Oh, the dawn won't stop weighing a tonne
|
|||
|
I've done some things that I shouldn't have done
|
|||
|
But I haven't stopped loving you once"
|
|||
|
130,The View From The Afternoon ,"Anticipation has a habit to set you up
|
|||
|
For disappointment in evening entertainment but
|
|||
|
Tonight there’ll be some love
|
|||
|
Tonight there'll be a rawkus yeah
|
|||
|
Regardless of what's gone before
|
|||
|
|
|||
|
I want to see all of the things that we've already seen
|
|||
|
The lairy girls hung out the window of the limousine
|
|||
|
And of course its fancy dress
|
|||
|
And they're all looking quite full on
|
|||
|
In bunny ears and devil horns and how!
|
|||
|
|
|||
|
Anticipation has a habit to set you up
|
|||
|
For disappointment in evening entertainment but
|
|||
|
Tonight there’ll be some love
|
|||
|
Tonight there'll be a rawkus yeah
|
|||
|
Regardless of what's gone before
|
|||
|
|
|||
|
I want to see all of the things that we've already seen
|
|||
|
I want to see you take the jackpot out the fruit machine
|
|||
|
And put it all back in
|
|||
|
You've got to understand it you can never beat the bandit, no
|
|||
|
|
|||
|
And she won't be surprised and she won't be shocked
|
|||
|
When she's pressed the star after she's pressed unlock
|
|||
|
And there's verse and chapter sat in her inbox
|
|||
|
And all that it says is that you've drank a lot
|
|||
|
You should bear that in mind tonight
|
|||
|
bear that in mind, yeah you should
|
|||
|
bear that in mind tonight
|
|||
|
Bear that in mind
|
|||
|
You can pour your heart out but her reasoning will block
|
|||
|
Owt you send her after nine o'clock
|
|||
|
|
|||
|
Anticipation has a habit to set you up
|
|||
|
For disappointment in evening entertainment but
|
|||
|
Tonight there’ll be some love
|
|||
|
Tonight there'll be a rawkus yeah
|
|||
|
Regardless of what's gone before
|
|||
|
|
|||
|
And she won’t be surprised and she won't be shocked
|
|||
|
When she’s pressed the star after she's pressed unlock
|
|||
|
And there’s verse and chapter sat in her inbox
|
|||
|
And all that it says is that you've drank a lot
|
|||
|
You should bear that in mind tonight
|
|||
|
bear that in mind, yeah you should
|
|||
|
bear that in mind tonight
|
|||
|
Bear that in mind
|
|||
|
|
|||
|
You can pour your heart out around 3 o'clock
|
|||
|
When the 2 for 1's undone the writers block"
|
|||
|
131,The World's First Ever Monster Truck Front Flip ,"You push the button and we’ll do the rest
|
|||
|
The exotic sound of data storage
|
|||
|
Nothing like it first thing in the morning
|
|||
|
You push the button and we’ll do the rest
|
|||
|
Bastard latin
|
|||
|
That’s the best thing for it
|
|||
|
You push the button and we’ll do the rest
|
|||
|
|
|||
|
You and Lizzy in the summertime
|
|||
|
Wrapping my tiny mind around a lullaby
|
|||
|
|
|||
|
There are things that I just cannot explain to you
|
|||
|
And those that I hope I don’t ever have to
|
|||
|
|
|||
|
Pattern language, in the mood for love
|
|||
|
You push the button and we’ll do the rest
|
|||
|
|
|||
|
You and Genie wearing stetson hats
|
|||
|
Trying to gain access to my lily pad
|
|||
|
|
|||
|
There are things that I just cannot explain to you
|
|||
|
And those that I hope I don’t ever have to
|
|||
|
|
|||
|
The world’s first ever monster truck front flip
|
|||
|
I’m just a bad girl trying to be good
|
|||
|
I’ve got a laser guiding my love that I cannot adjust
|
|||
|
Forward thinking model villages
|
|||
|
More brain shrinking moving images
|
|||
|
You push the button and we’ll do the rest"
|
|||
|
132,There'd Better Be A Mirrorball ,"[Verse 1]
|
|||
|
Don't get emotional, that ain't like you
|
|||
|
Yesterday's still leaking through the roof
|
|||
|
That's nothing new
|
|||
|
I know I promised this is what I wouldn't do
|
|||
|
Somehow giving it the old romantic fool
|
|||
|
Seems to better suit the mood
|
|||
|
|
|||
|
[Chorus]
|
|||
|
So if you wanna walk me to the car
|
|||
|
You oughta know I'll have a heavy heart
|
|||
|
So can we please be absolutely sure
|
|||
|
That there's a mirrorball?
|
|||
|
|
|||
|
[Verse 2]
|
|||
|
You're getting cynical and that won't do
|
|||
|
I'd throw the rose tint back on the exploded view
|
|||
|
Darling, if I were you
|
|||
|
And how's that insatiable appetite?
|
|||
|
For the moment whеn you look them in the eyеs
|
|||
|
And say, ""Baby, it's been nice""
|
|||
|
|
|||
|
[Chorus]
|
|||
|
So do you wanna walk me to the car?
|
|||
|
I'm sure to have a heavy heart
|
|||
|
So can we please be absolutely sure
|
|||
|
That there's a mirrorball for me?
|
|||
|
Oh, there'd better be a mirrorball for me"
|
|||
|
133,This House Is A Circus ,"This house is a circus, berserk as fuck
|
|||
|
We tend to see that as a perk though
|
|||
|
Look, what it's done to your friends
|
|||
|
Their memories are pretend
|
|||
|
And the last thing that they want
|
|||
|
is for the feeling to end
|
|||
|
|
|||
|
This house is a circus, berserk as fuck
|
|||
|
We tend to see that as a perk though
|
|||
|
Look, what it's done to your friends
|
|||
|
Their memories are pretend
|
|||
|
And the last thing that they want
|
|||
|
is for the feeling to end
|
|||
|
|
|||
|
There’s a room full of trouble and there's lovers to be had
|
|||
|
Those walls make sinners out of such lovely lads
|
|||
|
Scaling the corridors for maidens in the maze
|
|||
|
In any anomaly you slip into familiar ways
|
|||
|
|
|||
|
And we’re forever unfulfilled
|
|||
|
And can’t think why
|
|||
|
Like a search for murder clues
|
|||
|
In dead man’s eyes
|
|||
|
|
|||
|
Forever unfulfilled
|
|||
|
And can’t think why
|
|||
|
Like a search for murder clues
|
|||
|
In dead man’s eyes
|
|||
|
|
|||
|
The more you open your mouth
|
|||
|
the more you're forcing performance
|
|||
|
And all the attention is leading me to feel important
|
|||
|
(Give me obnoxious, give me obnoxious now)
|
|||
|
Now that we're here, we may as well go too far
|
|||
|
|
|||
|
Wriggling around an incident you won't forget
|
|||
|
There's certainly some venom in the looks that you collect
|
|||
|
Aimlessly gazing at the faces in the queue
|
|||
|
Struggling with the notion that it's life not film
|
|||
|
|
|||
|
This house is a circus, berserk as fuck
|
|||
|
We tend to see that as a perk though
|
|||
|
Look, what it's done to your friends
|
|||
|
Their memories are pretend
|
|||
|
And the last thing that they want
|
|||
|
is for the feeling to end"
|
|||
|
134,Too Much To Ask ,"The smiles as she walked in the room
|
|||
|
Have all turned into frowns
|
|||
|
Am I too quick to assume
|
|||
|
That the love is no longer in bloom?
|
|||
|
The tantrums and the tears
|
|||
|
Play a very different tune to what they did before
|
|||
|
|
|||
|
Her head's red raw And the ending doesn't sound like
|
|||
|
The happiest around
|
|||
|
When you sobbed before it felt much more
|
|||
|
Like the product of a squabble
|
|||
|
Now there's reason for it to be something more
|
|||
|
|
|||
|
And no would be, oh, it's uncertain
|
|||
|
Whether the curtain has shut for good
|
|||
|
She says, ""See if it's still raining
|
|||
|
I'm not dressed for it,""
|
|||
|
And ""if you loved me-""
|
|||
|
And I interrupt to receive the scowl and stare
|
|||
|
But still decided to stop her there
|
|||
|
|
|||
|
Would it be outrageous to say
|
|||
|
We're either shouting or we're shagging
|
|||
|
Docked in tempestuous bays
|
|||
|
At least that's how it felt yesterday
|
|||
|
The eyes are getting heavier
|
|||
|
And whether you're asleep or awake
|
|||
|
|
|||
|
Is a mystery
|
|||
|
Would a kiss be too much to ask?
|
|||
|
When you fit me as Sunday's frozen pitch
|
|||
|
Fits the thermos flask
|
|||
|
It's a pity, it just hit me, we can't go back
|
|||
|
To the chest touching on the back"
|
|||
|
135,Tranquility Base Hotel & Casino ,"Jesus in the day spa filling out the information form
|
|||
|
Mama got her hair done
|
|||
|
Just popping out to sing a protest song
|
|||
|
I've been on a bender back to that prophetic esplanade where I ponder all the questions but just manage to miss the mark
|
|||
|
|
|||
|
Good afternoon
|
|||
|
Tranquility Base Hotel and Casino
|
|||
|
Mark speaking
|
|||
|
Please tell me how may I direct your call?
|
|||
|
|
|||
|
This magical thinking
|
|||
|
Feels as if it really might catch on
|
|||
|
Mama wants some answers
|
|||
|
Do you remember where it all went wrong?
|
|||
|
Technological advances
|
|||
|
Really bloody get me in the mood
|
|||
|
Pull me in close on a crisp eve baby
|
|||
|
Kiss me underneath the moon's side boob
|
|||
|
|
|||
|
Good afternoon
|
|||
|
Tranquility Base Hotel and Casino
|
|||
|
Mark speaking
|
|||
|
Please tell me how may I direct your call?
|
|||
|
|
|||
|
Do you celebrate your dark side
|
|||
|
Then wish you'd never left the house?
|
|||
|
Have you ever spent a generation trying to figure that one out?
|
|||
|
|
|||
|
Good afternoon
|
|||
|
Tranquility Base Hotel and Casino
|
|||
|
Mark speaking
|
|||
|
Please tell me how may I direct your call?"
|
|||
|
136,View From The Afternoon ,"Anticipation has the habit to set you up
|
|||
|
For disappointment in evening entertainment but
|
|||
|
Tonight there’ll be some love
|
|||
|
Tonight there’ll be a rawkus, regardless of what’s gone before
|
|||
|
I want to see all of the things that we’ve already seen
|
|||
|
The lairy girls hung out the window of the limousine
|
|||
|
And of course its fancy dress
|
|||
|
And they’re all looking quite full on
|
|||
|
In bunny ears and devil horns
|
|||
|
|
|||
|
I want to see all of the things that we’ve already seen
|
|||
|
I want to see you take the jackpot out the fruit machine
|
|||
|
And put it all back in
|
|||
|
You’ve got to understand it you can never beat the bandit
|
|||
|
|
|||
|
And she won’t be surprised and she won_t be shocked
|
|||
|
When she’s pressed the star after she_s pressed unlock
|
|||
|
And there’s verse and chapter sat in her inbox
|
|||
|
And all that it says is that you’ve drank a lot
|
|||
|
You should bear that in mind tonight
|
|||
|
You can pour your heart out but her reasoning will block
|
|||
|
owt you send her after nine o clock
|
|||
|
|
|||
|
You can pour your heart out around 3 o clock
|
|||
|
When the 2 for 1’s undone the writers block"
|
|||
|
137,Wavin' Bye to the Train or Bus ,"Oh baby, I'm wanting to do you a swap
|
|||
|
Well I'll give you anything, yeah
|
|||
|
In return for the noises you've got
|
|||
|
And I can see you want to be attended to
|
|||
|
Just count to twenty-nine and I'll attend to you
|
|||
|
Oh for sure... well certainly, yeah yeah yeah
|
|||
|
|
|||
|
Wavin' bye to the train or the bus
|
|||
|
I'm ever so worried because
|
|||
|
I don't want to get all forgotten
|
|||
|
|
|||
|
So very comfortable
|
|||
|
Don't really need to put up my feet
|
|||
|
And even in fat sam's grand slam
|
|||
|
Can't see it being easier to speak
|
|||
|
When you've karate-kicked your way to someone new
|
|||
|
And I'm a memory and don't know what to do
|
|||
|
All on his own
|
|||
|
Collecting his dole n' stuff
|
|||
|
|
|||
|
Wavin' bye to the train or the bus
|
|||
|
I'm ever so worried because
|
|||
|
I don't want to get all forgotten
|
|||
|
'Cause we know
|
|||
|
Yeah, we know-oh-oh-oh
|
|||
|
Oh we know-oh, woah-oh-oh
|
|||
|
|
|||
|
Don't know where we're going, baby
|
|||
|
I s'pose it depends
|
|||
|
But even if we're all far apart
|
|||
|
We can all come back and all be fine
|
|||
|
And we'll be able to be together again
|
|||
|
|
|||
|
Be together again
|
|||
|
Be together again
|
|||
|
Be together again
|
|||
|
Be together again
|
|||
|
Be together again
|
|||
|
Be together again
|
|||
|
|
|||
|
Everybody will be together again!"
|
|||
|
138,What If You Were Right First Time? ,"Betwixt and between,
|
|||
|
The fantastic dream,
|
|||
|
And the fear.
|
|||
|
Do you wonder where she is
|
|||
|
This afternoon?
|
|||
|
|
|||
|
And does it get on your nerves,
|
|||
|
Make you slightly perturbed,
|
|||
|
That there's things that you don't know about her?
|
|||
|
And even the places that she's never been with yer, seem awful empty without her.
|
|||
|
|
|||
|
You can't look into those eyes,
|
|||
|
Down no telephone line,
|
|||
|
What if you were right first time?
|
|||
|
|
|||
|
Betwixt and between,
|
|||
|
The fantastic dream,
|
|||
|
And the fear,
|
|||
|
You wonder where she is,
|
|||
|
This afternoon.
|
|||
|
|
|||
|
And with the needle in groove
|
|||
|
Is there all to prove
|
|||
|
And they tell me 'Are your feet still tapping?'
|
|||
|
I know there's a first for a trip over the water.
|
|||
|
What is the worst that could happen?
|
|||
|
|
|||
|
You can't look into those eyes,
|
|||
|
Down no telephone line,
|
|||
|
What if you were right first time?"
|
|||
|
139,When The Sun Goes Down ,"I said, who's that girl there?
|
|||
|
I wonder what went wrong
|
|||
|
So that she had to roam the streets
|
|||
|
She doesn't do major credit cards
|
|||
|
I doubt she does receipts
|
|||
|
It's all not quite legitimate
|
|||
|
|
|||
|
And what a scummy man
|
|||
|
Just give him half a chance
|
|||
|
I bet he'll rob you if he can
|
|||
|
Can see it in his eyes, yeah
|
|||
|
That he's got a driving ban
|
|||
|
Amongst some other offences
|
|||
|
|
|||
|
And I've seen him with girls of the night
|
|||
|
And he told Roxanne to put on her red light
|
|||
|
They're all infected but he'll be alright
|
|||
|
Cause he's a scumbag, don't you know
|
|||
|
I said he's a scumbag, don't you know
|
|||
|
|
|||
|
Although you're trying not to listen
|
|||
|
Avert your eyes and staring at the ground
|
|||
|
She makes a subtle proposition
|
|||
|
I'm sorry, love, I'll have to turn you down
|
|||
|
|
|||
|
And oh, he must be up to summat*
|
|||
|
What are the chances? Sure it's more than likely
|
|||
|
I've got a feeling in my stomach
|
|||
|
You start to wonder what his story might be
|
|||
|
What his story might be, yeah
|
|||
|
|
|||
|
Cause they said he changes when the sun goes down
|
|||
|
Yeah, they said he changes when the sun goes down
|
|||
|
And they said he changes when the sun goes down around here
|
|||
|
Around here
|
|||
|
|
|||
|
Look, here comes a Ford Mondeo
|
|||
|
Isn't he Mr. Inconspicuous
|
|||
|
And he don't even have to say owt
|
|||
|
She's in the stance ready to get picked up
|
|||
|
|
|||
|
Bet she's delighted when she sees him
|
|||
|
Pulling in and giving her the eye
|
|||
|
Because she must be fucking freezing
|
|||
|
Scantily clad beneath the clear night sky
|
|||
|
It doesn't stop in the winter, no
|
|||
|
|
|||
|
And they said he changes when the sun goes down
|
|||
|
Yeah, they said he changes when the sun goes down
|
|||
|
And they said he changes when the sun goes down
|
|||
|
Around here
|
|||
|
|
|||
|
Well, they said he changes when the sun goes down
|
|||
|
Over the river going out of town
|
|||
|
And they said he changes when the sun goes down
|
|||
|
Around here
|
|||
|
Around here
|
|||
|
|
|||
|
And what a scummy man
|
|||
|
Just give him half a chance
|
|||
|
I bet he'll rob you if he can
|
|||
|
Can see it in his eyes, yeah
|
|||
|
That he's got a nasty plan
|
|||
|
I hope you're not involved at all
|
|||
|
|
|||
|
|
|||
|
* “Summat” is Yorkshire slang for “something.”"
|
|||
|
140,Who the fuck are arctic monkeys ,"We all want someone to shout for
|
|||
|
Yeah, everyone wants somebody to adore
|
|||
|
But your heroes aren't what they seem
|
|||
|
When you've been where we've been
|
|||
|
|
|||
|
Have I done something to trigger
|
|||
|
The funny looks and the sniggers?
|
|||
|
Are they there at all, or is it just paranoia?
|
|||
|
|
|||
|
Everybody's got their box
|
|||
|
Doing what they're told
|
|||
|
You pushed my faith near being lost
|
|||
|
But we'll stick to the guns
|
|||
|
Don't care if it's marketing suicidal
|
|||
|
Won't crack or compromise
|
|||
|
Your do-rights or individes
|
|||
|
Will never unhinge us
|
|||
|
|
|||
|
And there's a couple of hundred
|
|||
|
Think they're Christopher Columbus
|
|||
|
But the settlers had already settled
|
|||
|
Yeah, long before ya
|
|||
|
|
|||
|
Just cos we're having a say-so
|
|||
|
Not lining up to be playdoh
|
|||
|
Oh, in five years time, will it be
|
|||
|
""Who the fuck's Arctic Monkeys?""
|
|||
|
|
|||
|
'Cause everybody's got their box
|
|||
|
Doing what they're told
|
|||
|
You pushed my faith near being lost
|
|||
|
But we'll stick to the guns
|
|||
|
Don't care if it's marketing suicidal
|
|||
|
Won't crack or compromise
|
|||
|
Your do-rights or individes
|
|||
|
Will never unhinge us
|
|||
|
|
|||
|
[Instrumental]
|
|||
|
(La la la la la, la la)
|
|||
|
(La la la la la, la la)
|
|||
|
(La la la la la, la la)
|
|||
|
|
|||
|
All the thoughts that I just said
|
|||
|
Will linger round and multiply in their head
|
|||
|
Not that mad to start with
|
|||
|
I'm not angry, I'm just disappointed
|
|||
|
|
|||
|
It's not you it's them that are wrong
|
|||
|
Tell 'em to take out their tongues
|
|||
|
Tell 'em to take out their tongues...
|
|||
|
|
|||
|
It's not you it's them that are wrong
|
|||
|
Tell 'em to take out their tongues
|
|||
|
Tell 'em to take out their tongues
|
|||
|
And bring on the backlash!
|
|||
|
|
|||
|
It's not you it's them that are wrong
|
|||
|
Tell him to take out his tongue
|
|||
|
Tell him to take out his tongue
|
|||
|
It's not you it's them that's the fake
|
|||
|
I won't mess with your escape
|
|||
|
Is this really your escape?"
|
|||
|
141,Why'd You Only Call Me When You're High? ,"The mirror's image,
|
|||
|
It tells me it's home time,
|
|||
|
But I'm not finished,
|
|||
|
'Cause you're not by my side.
|
|||
|
And as I arrived I thought I saw you leaving,
|
|||
|
Carrying your shoes,
|
|||
|
Decided that once again I was just dreaming,
|
|||
|
Of bumping into you.
|
|||
|
Now it's three in the morning,
|
|||
|
And I'm trying to change your mind,
|
|||
|
Left you multiple missed calls
|
|||
|
And to my message you reply.
|
|||
|
Why'd you only call me when you're high?
|
|||
|
High
|
|||
|
Why'd you only call me when you're high?
|
|||
|
Somewhere darker,
|
|||
|
Talking the same shite,
|
|||
|
I need a partner,
|
|||
|
Well are you out tonight?
|
|||
|
It's harder and harder to get you to listen,
|
|||
|
More I get through the gears,
|
|||
|
Incapable of making alright decisions,
|
|||
|
And having bad ideas.
|
|||
|
Now it's three in the morning,
|
|||
|
And I'm trying to change your mind,
|
|||
|
Left you multiple missed calls
|
|||
|
And to my message you reply.
|
|||
|
(Message you reply)
|
|||
|
Why'd you only call me when you're high?
|
|||
|
(Why'd you only call me when you're)
|
|||
|
High
|
|||
|
Why'd you only call me when you're high?
|
|||
|
And I can't see you here when I'm high,
|
|||
|
Sort of feels like I'm running out of time,
|
|||
|
I haven't found all I was hoping to find,
|
|||
|
You said you got to be up in the morning,
|
|||
|
Gonna have an early night,
|
|||
|
And you starting to bore me, baby,
|
|||
|
Why'd you only call me when you're high?
|
|||
|
Why'd you only ever phone me when you're high?
|
|||
|
Why'd you only ever phone me when you're high?
|
|||
|
Why'd you only ever phone me when you're high?
|
|||
|
Why'd you only ever phone me when you're high?"
|
|||
|
142,Why’d You Only Call Me When You’re High? ,"The mirror's image
|
|||
|
It tells me it's home time
|
|||
|
But I'm not finished
|
|||
|
'Cause you're not by my side
|
|||
|
And as I arrived I thought I saw you leaving
|
|||
|
Carrying your shoes
|
|||
|
Decided that once again I was just dreaming
|
|||
|
Of bumping into you
|
|||
|
|
|||
|
Now it's three in the morning
|
|||
|
And I'm trying to change your mind
|
|||
|
Left you multiple missed calls
|
|||
|
And to my message you reply,
|
|||
|
|
|||
|
Why'd you only call me when you're high?
|
|||
|
High
|
|||
|
Why'd you only call me when you're high?
|
|||
|
|
|||
|
Somewhere darker
|
|||
|
Talking the same shite
|
|||
|
I need a partner (hey)
|
|||
|
Well, are you out tonight?
|
|||
|
It's harder and harder to get you to listen
|
|||
|
More I get through the gears
|
|||
|
Incapable of making alright decisions
|
|||
|
And having bad ideas
|
|||
|
|
|||
|
Now it's three in the morning
|
|||
|
And I'm trying to change your mind
|
|||
|
Left you multiple missed calls
|
|||
|
And to my message you reply (message you reply)
|
|||
|
|
|||
|
Why'd you only call me when you're high?
|
|||
|
(why'd you only call me when you're high?)
|
|||
|
High
|
|||
|
Why'd you only call me when you're high?""
|
|||
|
|
|||
|
And I can't see you here wonder where I might?
|
|||
|
It sort of feels like I'm running out of time
|
|||
|
I haven't found what I was hoping to find
|
|||
|
You said, ""You gotta be up in the morning,
|
|||
|
Gonna have an early night
|
|||
|
And you're starting to bore me, baby
|
|||
|
Why'd you only call me when you're high?""
|
|||
|
|
|||
|
Why'd you only ever phone me when you're high?
|
|||
|
Why'd you only ever phone me when you're high?
|
|||
|
Why'd you only ever phone me when you're high?
|
|||
|
Why'd you only ever phone me when you're high?"
|
|||
|
143,You And I ,"I like the way you look at me, baby
|
|||
|
Please don't try to turn on the lights
|
|||
|
I act as if I'm not going crazy
|
|||
|
Girl, I'm in the muddle tonight
|
|||
|
Would you tell me where you're gonna take it
|
|||
|
If I have a heart, you're the one who should break it
|
|||
|
The engines running, can't decide if I should ride away
|
|||
|
|
|||
|
You and I
|
|||
|
You and I
|
|||
|
|
|||
|
I had a woman
|
|||
|
She went away
|
|||
|
And now I'm lonely
|
|||
|
Fuck it
|
|||
|
|
|||
|
You and I
|
|||
|
You and I
|
|||
|
|
|||
|
You and I
|
|||
|
You and I
|
|||
|
|
|||
|
Would you tell me where you're gonna take it
|
|||
|
If I have a heart, you're the one who should break it
|
|||
|
The engines running, can't decide if I should ride away
|
|||
|
|
|||
|
You and I
|
|||
|
You and I
|
|||
|
|
|||
|
You and I
|
|||
|
You and I
|
|||
|
You and I
|
|||
|
|
|||
|
I like the way you look at me, baby
|
|||
|
Please don't go and turn out the lights
|
|||
|
I act as if I'm not going crazy
|
|||
|
Girl, I'm in the motel tonight"
|
|||
|
144,You know i'm no good ,"Meet you downstairs in the bar and heard
|
|||
|
Your rolled up sleeves and your skull t-shirt
|
|||
|
You say 'why did you do it with him today?'
|
|||
|
And sniff me out like I was Tanqueray
|
|||
|
|
|||
|
Cause you're my fella, my guy
|
|||
|
Hand me your stella and fly
|
|||
|
By the time I'm out the door
|
|||
|
You tear me down like Roger Moore
|
|||
|
|
|||
|
I cheated myself
|
|||
|
Like I knew I would
|
|||
|
I told ya, I was trouble
|
|||
|
You know that I'm no good
|
|||
|
|
|||
|
Upstairs in bed, with my ex boy,
|
|||
|
He’s in the place, but I cant get joy,
|
|||
|
Thinking of you in the final throws, this is when my buzzer goes
|
|||
|
|
|||
|
Run out to meet you, chips and pita
|
|||
|
You say 'when we're married' cause you're not bitter
|
|||
|
There'll be none of him no more
|
|||
|
I cried for you on the kitchen floor
|
|||
|
|
|||
|
I cheated myself
|
|||
|
Like I knew I would
|
|||
|
I told ya, I was trouble
|
|||
|
You know that I'm no good
|
|||
|
|
|||
|
Sweet reunion, Jamaica and Spain
|
|||
|
We're like how we were again
|
|||
|
I'm in the tub, you're on the seat
|
|||
|
Lick your lips as I soak my feet
|
|||
|
|
|||
|
Then you notice little carpet burn
|
|||
|
My stomach drops and my guts churn
|
|||
|
You shrug and it's the worst
|
|||
|
To truly stuck the knife in first
|
|||
|
|
|||
|
I cheated myself like I knew I would
|
|||
|
I told ya I was trouble, you know that I'm no good
|
|||
|
I cheated myself, like I knew I would
|
|||
|
I told ya I was trouble, yeah you know that I'm no good"
|
|||
|
145,You Probably Couldn't See For The Lights But You Were L ,"One look sends it coursing
|
|||
|
through the veins, oh how the feeling races
|
|||
|
Back up to their brains
|
|||
|
to form expressions on there stupid faces
|
|||
|
They don't want to say hello
|
|||
|
Like I want to say hello
|
|||
|
Well, the heartbeats at its peak
|
|||
|
when you're coming up to speak
|
|||
|
And now I'm so tense, never tenser
|
|||
|
Could all go a bit Frank Spencer?
|
|||
|
I'm talking gibberish
|
|||
|
tip of the tongue but I can't deliver it
|
|||
|
Properly, oh it's all getting on top of me
|
|||
|
And if it weren't this dark you'd see
|
|||
|
how red my face has gone yet
|
|||
|
|
|||
|
Everybody's trying to crack the jokes and that
|
|||
|
to make you smile
|
|||
|
Those that claim that they're not showing off
|
|||
|
are drowning in denial
|
|||
|
They're not half as bad as me
|
|||
|
say anything and I'll agree
|
|||
|
Cause when it comes to acting up
|
|||
|
I'm sure I could write the book
|
|||
|
|
|||
|
And now that you're more than a part in the play
|
|||
|
It's slightly easier to think what to say
|
|||
|
You had us all, standing on our heads
|
|||
|
Doing our best tricks
|
|||
|
|
|||
|
Never again, never again, oh
|
|||
|
will there be another one
|
|||
|
quite as desirable as you
|
|||
|
One look sends it coursing
|
|||
|
through the veins, oh how the feeling races
|
|||
|
Back up to their brains
|
|||
|
to form expressions on there stupid faces"
|
|||
|
146,You're So Dark ,"You got your H.P. Lovecraft
|
|||
|
Your Edgar Allan Poe
|
|||
|
You got your unkind of ravens
|
|||
|
And your murder of crows
|
|||
|
|
|||
|
Catty eyelashes and your Dracula cape
|
|||
|
Been flashing triple A passes at the cemetery gates
|
|||
|
Cause you’re so dark, babe
|
|||
|
But I want you hard
|
|||
|
|
|||
|
You’re so dark, baby
|
|||
|
You’re so dark
|
|||
|
You’re so dark
|
|||
|
You’re so dark
|
|||
|
|
|||
|
And you’re so mysterious
|
|||
|
Got that obsession with death
|
|||
|
I saw you driving your Prius
|
|||
|
And even that was Munster Koach-esque
|
|||
|
|
|||
|
You watch Italian horror and you listen to the scores
|
|||
|
Leather-clad and spiked collar I want you down on all fours
|
|||
|
Cause you’re so dark, babe
|
|||
|
But I want you hard
|
|||
|
|
|||
|
You’re so dark, baby
|
|||
|
|
|||
|
I know you’re nothing like mine
|
|||
|
Cos she’s walking on sunshine
|
|||
|
And your love would tear us apart
|
|||
|
And I know I’m not your type
|
|||
|
Cos I don’t shun the daylight
|
|||
|
But baby I’m willing to start
|
|||
|
|
|||
|
You’re so dark
|
|||
|
|
|||
|
Got your H.P. Lovecraft
|
|||
|
Your Edgar Allan Poe
|
|||
|
Got your unkind of ravens
|
|||
|
Got your murder of crows
|
|||
|
|
|||
|
You’re so dark, babe
|
|||
|
|
|||
|
But I want you hard
|
|||
|
|
|||
|
You’re so dark, baby
|
|||
|
|
|||
|
But I want you hard
|
|||
|
|
|||
|
You’re so dark, oh
|
|||
|
|
|||
|
But I want you hard
|
|||
|
|
|||
|
You’re so dark, baby"
|