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from Pulp - We Love Life (2001)
This is the true story of the weeds
the origin of the species. A story of cultivation, exploitation, civilization. Found flowering on wasteland unnoticed, unofficial, accidental. A cutting was taken but weeds do not thrive under hothouse conditions & wilt when in competition with more exotic strains. A charming naivety, very short flowering season; no sooner has the first blooming begun than decay sets in. Bring your camera, take photo of life on the margins. Offer money in exchange for sex & then get a taxi home. The story has always been the same A source of wonder due to their ability to thrive on poor quality soil offering very little nourishment Drinking 'Nurishment'. But weeds must be kept under strict control or they will destroy everything in their path. Growing wild, then harvested in their prime & passed around at dinner parties. Care for some weed? So natural, so wild, so unrefined & someone's gonna make a fortune one day If only they can market this stuff right. Come on: do your dance. Come on, do your funny little dance. Germination. Plantation. Exploitation. Civilization. A sensational buzz - zzzzzz. Crop rotation. Genetic modification. The creation of expectation. Ultimate frustration. This is the story of the weeds the origin of the species. |
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from Pulp - We Love Life (2001)
It's six o'clock, the birds are singing.
I'm wide awake whilst you're still fast asleep. I went outside, into your garden. The sun was bright & the air was cool And as I stood there listening Well the birds in your garden they all started singing this song "Take her now. Don't be scared, it's alright. Oh, come on, touch her inside. It's a crime against nature she's been waiting all night. Come on, hold her, & kiss her & tell her you care If you wait 'til tomorrow she'll no longer be there. Come on & give it to her. You know it's now or never." Yeah, the birds in your garden have all started singing this song. My father never told me about the birds & the bees. And I guess I never realised that I would ever meet birds as beautiful as these. I came inside, climbed to your bedroom. I kissed your eyes awake & then I did what I knew was only natural. And then the birds in your garden, they all started singing this song "Take her now. Don't be scared, it's alright. Oh, come on, touch her inside. It's a crime against nature she's been waiting all night. Come on, hold her, kiss her & tell her you care If you wait 'til tomorrow she'll no longer be there. Come on & give it to her. You know it's now or never." Yeah, the birds in your garden have all started singing this song. Yeah, the birds in your garden, they taught me the words to this song. |
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from Pulp - We Love Life (2001)
When you think you're treading water,
but you're just learning how to drown. And a song comes on the radio telling you that "The Only Way is Down". You're out of luck, you're out of time, get out of here. Your lover just traded you in for the very same model but a much more recent year. It will not stop, it will get worse from day to day 'til you admit that you're a fuck-up; like the rest of us. Oh, that's the time you fall apart . That's the time the teardrops start that's the time you fall in love again. Yeah, that's the time you fall in love again. The recreational pursuits that made you shine have worn you thin. And it's oh so fine getting out of your mind as long as you can find your way back in. You want someone to screw your brains out I'd say they're running out of time they'd only go & cut themselves on the daggers of your mind. This is your future. This is the sentence you must serve 'til you admit that you're a fuck-up like the rest of us. Oh, that's the time you fall apart. That's the time the teardrops start that's the time you fall in love again. When you've had enough, when you've had too much, when you got knocked down & you never got up. That's the time you fall in love again. Oh, when you walked into the room I could not breathe, I could not speak. Please could I hide myself inside you? As far inside as it's possible to be. Can you assist me? I could not make it on my own. Can I give you all the love I have? It's not much but I'll try & raise a loan. I have no pride left, no, no there is nothing I'm trying to prove No, I am a fuck-up; just the same as you. Oh, I guess this is where I fall apart And I guess this is where the teardrops start but I don't care 'cos I just fell in love again. And I'd had enough - well, far too much I just fell down, could you please help me up? "Cos if you help me maybe I could fall in love again. Na na na. |
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3:28 | ||||
from Pulp, Pulp - His N Hers (1994)
We like driving on a Saturday night,
past the Leisure Centre, left at the lights. We don't look for trouble, but if it comes we don't run. Looking out for trouble, is what we call fun. Hey you, you in the Jesus sandals, wouldn't you like to come over and watch some vandals smashing up someone's home? We can't help it, we're so thick we can't think, can't think of anything but shit, sleep and drink. Oh, and we like women; "up the women" we say, and if we get lucky, we might even meet some one day. Hey you, you in the Jesus sandals, wouldn't you like to come over and watch some vandals smashing up someone's home? Mister, we just want your car, cos we're taking a girl to the reservoir. Oh, all the papers say, it's a tragedy, but don't you want to come and see? Mister, we just want your car, cos we're taking a girl to the reservoir. Oh, all the papers say, it's a tragedy, but don't you want to come and see? Mister, we just want your car, cos we're taking a girl to the reservoir. Oh, all the papers say, it's a tragedy, but don't you want to come and see? Mister, we just want your car, cos we're taking a girl to the reservoir. Oh, all the papers say, it's a tragedy, but don't you want to come and see? |
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3:34 | ||||
from Pulp, Pulp - His N Hers (1994)
No wonder you're looking thin,
when all that you live on is lipgloss and cigarettes. And scraps at the end of the day when he's given the rest, to someone with long black hair. All those nights up making such a mess of the bed. Oh you never ever want to go home. And he wants you so you may as well hang around for a while, call your dad on the phone. He changed his mind last Monday, so you've gotta leave by Sunday, yeah. You've lost your lipgloss Honey, Oh yeah. Now nothing you do can turn him on, there's something wrong. You had it once but now it's gone. And you feel such a fool, for laughing at bad jokes, and putting up with all of his friends, and kissing in public. What are they gonna say when they run into you again? That your stomach looks bigger and your hair is a mess, and your eyes are just holes in your face. And it rains every day, and when it doesn't, the sun makes you feel worse anyway. He changed his mind last Monday, now you've gotta leave by Sunday, yeah. You've lost your lipgloss Honey, Oh yeah. Now nothing you do can turn him on, there's something wrong. You had it once but now it's gone. Though you knew, there was no way it was gonna last for ever, it still shook you, when he told you in a letter, that he didn't wanna see you. You nearly lost your mind, Oh yeah. You've lost your lipgloss Honey, Oh yeah. Now nothing you do can turn him on, there's something wrong. You had it once but now it's gone, Oh yeah. You've lost your lipgloss Honey, Oh yeah. Now nothing you do can turn him on, there's something wrong. You had it once but now it's gone. Oh yeah. |
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4:10 | ||||
from Pulp, Pulp - His N Hers (1994)
I fell asleep on your sofa,
and had a dream about a small child, in dungarees, who caught his hands in the doors of the Paris metro. Then my face cracked open and you were there, you were there dressed in green, saying something obscene. But that's why I came here in the first place, Oh well that and the tea. Can I stay here, lying under the table together with you now? Can I hold you? Forever in acrylic afternoons I want to hold you tight whilst children play outside and wait for their mothers to finish with lovers and call them inside for their tea. Cushions and TV, and the table set for tea. One for you, one for me. Come and lie down on the settee, in that green jumper, you can have anything you want. And the clock is saying, it's half past four but you know, I want to stay a little more. Can I stay here, lying under the table together with you now? Can I hold you? Forever in acrylic afternoons I want to hold you tight whilst children play outside and wait for their mothers to finish with lovers and call them inside for their tea. On a pink quilted eiderdown, I want to pull your knickers down. Net curtains blow slightly in the breeze. Lemonade light filtering through the trees. It's so soft and it's warm. Just another cup of tea please (one lump thanks). Can I stay here, lying under the table together with you now? Can I hold you? Forever in acrylic afternoons I want to hold you tight whilst children play outside and wait for their mothers to finish with lovers and call them inside for their tea. Oh Kevin, Shane, Julie, Diane, Wayne, Frank, Heather, Rachel, Chelsea, Leanne, come home. It's time for your tea. |
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4:11 | ||||
from Pulp, Pulp - His N Hers (1994)
First you let him in your bed.
Now he's moved inside your head. And he directs all the dreams you are dreaming. I saw a friend of yours today, she called me over just to say, "I dunno if you've seen her lately but God she's looking rough". No don't go round to see him tonight, he's already made such a mess of your life. Find something else to do with your time, and do it quickly while you've still got the chance. Do you think he'll fall apart? Do you think you'll break his heart? If you leave him on his own. You are dreaming. Cos he can fasten all his clothes, tie his laces, blow his nose. It's time to teach him how to walk, yeah, teach your baby how to walk away. No don't go round to see him tonight, he's already made such a mess of your life. Find something else to do with your time, and do it quickly while you've still got the chance. You're not his mother, you're not sister & brother. He's not even your lover. He's just a piece of luggage you should throw away. No don't go round to see him tonight, he's already made such a mess of your life. Find something else to do with your time, and do it quickly while you've still got the chance. No don't go round tonight, you'll never make it right. He's already made such a mess of your life. Find something else to do with your time, and do it quickly while you've still got the chance. |
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4:05 | ||||
from Pulp, Pulp - His N Hers (1994)
Well it happened years ago,
when you lived on Stanhope Road. We listened to your sister, when she came home from school, cos she was two years older, and she had boys in her room. We listened outside and heard her. Alright. Well that was alright for a while, but soon I wanted more. I want to see as well as hear, and so I hid inside her wardrobe. And she came round four, and she was with some kid called David, from the garage up the road. I listened outside I heard her. Alright. Oh I want to take you home. I want to give you children. You might be my girlfriend, yeah. When I saw you next day, I really couldn't tell, cos you might go and tell your mother. And so you went with Neve, and Neve was coming on, and I thought I heard you laughing, when his Mum and Dad were gone. I listened outside, I heard you. Alright. Oh I want to take you home. I want to give you children. You might be my girlfriend, yeah. Well I guess it couldn't last too long. I came home one day, and all her things were gone, I fell asleep inside. I never heard her come. And then she opened up her wardrobe, and I had to get it on. Oh, listen we were on the bed when you came home, I heard you stop outside the door. I know you won't believe it's true, I only went with her 'cos she looks like you. Oh I want to take you home. I want to give you children. You might be my girlfriend, yeah |
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5:49 | ||||
from Pulp, Pulp - His N Hers (1994)
Are you trying to put me on?
I turned around and it was gone. Did I leave it in your car? On a table in a bar? Or in your bed between the sheets? The places where we used to meet. Wherever love has gone I need to know. Cos she's a woman, Oh yeah, she's a woman. Ma Ma Ma Ma Ma Ma she's a lady. And I just love the way she moves, the way she moves, Watch her. When you left, I didn't know how I was going to forget you. I was hanging by a thread and then I met her. Selling pictures of herself to German business men. Well, that's all she wants to do. Come on, come on. I don't want to try too hard. I don't want to wait too long. I don't want to live alone, with all this crap that pulls me down. Oh, tell me now, how would it feel, if I could touch you once again. Where have you gone, where have you gone. The moon has gone down on the sun, Oh yeah. I know that you're coming home. You wouldn't leave me on my own. Everybody can't you see, she's coming back to me. Whilst you were gone I got along. I didn't die, I carried on I went drinking every night just so I could feel alright. Stayed in bed all day to feel OK. I felt OK. Oh I felt sick and tired, yes I did. She lived at her father's place, played his records though they jumped. Wore her body back to front. I tried hard to make it work, kissed her where she said it hurt but I was always underneath. She's a woman, Oh yeah, she's a woman. Ma Ma Ma Ma Ma Ma she's a lady. And I just love the way she moves, the way she moves, Watch her. I don't know why you pretend, that it causes you pain, when you know very well, you're going to do it again. You're going to do it again and again and again but can you keep it going all nite long? I know it's going to happen. It might not be today. It might not be tomorrow, or even the day after, but some time soon, you'll see, you're going to come back to me. Whilst you were gone I got along. I didn't die, I carried on I went drinking every night just so I could feel alright. Stayed in bed all day to feel OK. I felt OK. Whilst you were gone I got along. I didn't die, I carried on. Oh yeah I went with other women, what else can I say? I guess I kind of missed you, whilst you were away. Whilst you were gone. (stop) |
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4:58 | ||||
from Pulp, Pulp - His N Hers (1994)
Well, imagine it's a film and you're the star
and pretty soon we're coming to the part where you realise that you should give your heart, oh, give your heart to me. And now the orchestra begins to make a sound, that goes round & round & round & round & round & round & round & round & round again we kiss to violins. Well some sad people might believe in that I guess. But we know better don't we? We know all about the mess. The aftermath of our affair, is lying all around and I can't clear it away. No. And d'you think that it's so easy to find? Somebody who is just your kind? Well it might take you a little time, but I'm going to have to try. Oh yeah I'm gonna try. And I know no-one can ever know, which way to head. But don't you remember, that you once said, that you liked happy endings? And no-one can ever know, if it's going to work, but if you try, then you might get your happy ending. |
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4:23 | ||||
from Pulp, Pulp - His N Hers (1994)
You say you've got to go home
cos he's sitting on his own again this evening. I know you're gonna let him bore your pants off again. Oh God, it's half past eight, you'll be late. You say you've never been sure, though it makes good sense for you to be together. Still you bought a toy that can reach the places he never goes. Oh, now it's getting late. He's so straight. Do you remember the first time? I can't remember a worse time. But you know that we've changed so much since then, oh yeah, we've grown. Now I don't care what you're doing, no I don't care if you screw him. Just as long as you save a piece for me, oh yeah You say you've got to go home. Well at least there's someone there that you can talk to. And you never have to face up to the night on your own. Jesus, it must be great to be straight. Do you remember the first time? I can't remember a worse time. But you know that we've changed so much since then, oh yeah, we've grown. Now I don't care what you're doing, no I don't care if you screw him. Just as long as you save a piece for me, oh yeah |
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4:48 | ||||
from Pulp, Pulp - His N Hers (1994)
You'd better watch what you're wearing,
if you want him to come round and see you tonight. He doesn't care what it looks like, just as long as it's pink and it's tight. Oooh, so what should you do? Should you stop being you? Just to be how he wants you? Oooh, say you'll visit your mum, then tell me that you'll come, and meet me in the afternoon. He's got your heart, he's got control. You might as well know. I know you're never going to be with me, but if you try sometimes then maybe, you could get it right first time. I realise that you'll never leave him, but every now and then in the evening. You could get it right first time. I know you think I've got to be joking, but if you touch him again then I'm going. You got it right first time. Get it right first time. Now you've done it once now he wants you, to wear your pink glove all the time. Oooh, so what should you do? Should you stop being you? Just to be how he wants you? Oooh, say you'll visit your mum, then tell me that you'll come, and meet me in the afternoon. He's got your heart, he's got control. You might as well know. I know you're never going to be with me but if you try sometimes then maybe, you could get it right first time. I realise that you'll never leave him, but every now and then in the evening. You could get it right first time. I know you think I've got to be joking, but if you touch him again then I'm going. You got it right first time. Get it right first time. Oh you'll always be together, cos he gets you up in leather. So you know what to wear at the end of the day, and I'd laugh if I saw, but I'm out of the way. Yeah it's too long ago, shouldn't care anymore but I wanted to know; is it as good as before? Yeah it's hard to believe that you'd go for that stuff, all those baby-doll nighties with synthetic fluff. Yeah it looks pretty good and it fits you OK, wear your pink glove babe, he put it on the wrong way. I know you're never going to be with me but if you try sometimes then maybe, you could get it right first time. I realise that you'll never leave him, but every now and then in the evening. You could get it right first time. I know you think I've got to be joking, but if you touch him again then I'm going. You got it right first time. Get it right first time. |
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4:19 | ||||
from Pulp, Pulp - His N Hers (1994)
She likes to watch the moon,
as it travels through the sky, cos she's heard that it's romantic, though she really can't see why. Someone should have helped her through the day. Someone like the moon. So she drinks a cup of coffee, and telephones a friend, and she asks if she can make it, so this night will never end. Someone should have helped her through the day. Someone like the moon. But the light comes, and the day bleeds through the sky, and the sun, the sun makes it hard to get through, and the radio only plays love songs so she cries, though she knows it's such a bad thing to do. In the evening it gets better, and she thinks how it's not right, that someone so stupid, can so easily screw up your life. Someone should have helped her through the day. Someone like the moon. But the light came, and the day bled through the sky, and the sun, the sun made it hard to get through, and the radio only played love songs so she cried, though she knew it's such a bad thing to do. Can't you see? Can't you see? Someone should have helped her through the day. Someone like the moon. |
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7:01 | ||||
from Pulp, Pulp - His N Hers (1994)
We made our way slowly down the path that led to the stream,
swaying slightly, drunk on the sun, I suppose. It was a real summer's day. The air humming with heat whilst the trees beckoned us into their cool green shade. And when we reached the stream I put a bottle of cider into the water to chill, both of us knowing that we'd drink it long before it had the chance. This is where you want to be, there's nothing else but you and her, and how you spend your time. Walking to parties whilst it's still light outside. Peter was upset at first but now he's in the garden talking to somebody Polish. Why don't we set up a tent and spend the night out there? And we can pretend that we're somewhere foreign, but we'll still be able to use the fridge if we get hungry, or too hot. This is where you want to be, there's nothing else but you and her, and how you use your time. We went driving. This is where you want to be, there's nothing else but you and her, and how you use your time. The room smells faintly of sun tan lotion in the evening sunlight and when you take off your clothes, you're still wearing a small pale skin bikini. The sound of children playing in the park comes from faraway, and time slows down to the speed of the specks of dust floating in the light from the window. Summer leaves fall from Summer trees. Summer grazes fade on Summer knees. Summer nights are slowly getting long. Summer's going so hurry soon it'll be gone. So we went out to the park at midnight one last time. Past the abandoned glasshouse stuffed full of dying palms. Past the bandstand down to the boating lake. And we swam in the moonlight for what seemed like hours, until we couldn't swim anymore. And as we came out of the water we sensed a certain movement in the air, and we both shivered slightly and ran to collect our clothes. And as we walked home we could hear the leaves curling and turning brown on the trees, and the birds deciding where to go for Winter. And the whole sound, the whole sound of Summer packing it's bags and preparing to leave town. Oh but I want you to stay. Oh please stay for a while, oh I want you to stay, oh I want you to stay. |
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3:55 | ||||
from Pulp, Pulp - His N Hers (1994)
I woke up in the morning I was still alive
The mirror says I'm fifty-five years old If I don't look his way, I'm gonna do okay I'm gonna last another day without your love Ma ma ma ma ma ma Last another day without your love Oh no one lives alone for more than half a year That's what a friend of mine once said to me There's more things in the world than holding hands and kissing girls You've got to last another day without your love Ma ma ma ma ma ma Last another day without your love Ma ma ma ma ma ma Last another day without your love Oh but I dreamt of you last night And the world split into two I tried to listen to some records but they were all Singing about you I can't live on never knowing where my soul is going when I die I can't last another day without your love Ma ma ma ma ma ma I can't last another day without your love Ma ma ma ma ma ma I can't last another day without your love Oh yeah, well I realise I should think about somebody new instead That's what I tried to do, but the ones I liked looked just like you Gotta last another day without your love Ma ma ma ma ma ma Last another day without your love Ma ma ma ma ma ma Last another day without your love Oh but I dreamt of you last night And the world split into two I tried to listen to some records but they were all Singing about you I can't live on never knowing where my soul is going when I die I can't last another day without your love Ma ma ma ma ma ma I can't last another day without your love Ma ma ma ma ma ma I can't last another day without your love It's okay, I'm not a kid anymore I can last another day without your love If I focus all my thoughts on something stupid I can last another day without your love Ooh gonna last another day Last another day Last another day Last another day Last another day Last another day Last another day Good god Oh but I dreamt of you last night And the world split into two I tried to listen to some records but they were all Singing about you I can't live on never knowing where my soul is going when I die I can't last another day without your love Ma ma ma ma ma ma I can't last another day without your love Ma ma ma ma ma ma I can't last another day without your love. |
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3:43 | ||||
from Pulp, Pulp - His N Hers (1994)
I heard you take it lying down. Staring up at the ceiling
and there's a rumour, rumour around that she's been here again and that note on the shelf, she didn't even write it herself. You're not blind: you know what she's going to do. You're not blind: and who she's going to do it to. You're not blind: You can see where she's been by her eyes. You're not blind: but you'll wish that you were when you see her with me. She says she has to take a bath every time that you touch her And it really makes her laugh when you give her those eyes. Don't you know its bad for your health? All those things you do to yourself. You're not blind: you know what she's going to do. You're not blind: and who she's going to do it to. You're not blind: You can see where she's been by her eyes. You're not blind: but you'll wish that you were when you see her with me. If you've got such good taste why've you got that look on your face? There's no reason for tears 'cause this has been happening for years And it's so easy. Jesus! You're not blind: you know what she's going to do. You're not blind: and who she's going to do it to. You're not blind: You can see where she's been by her eyes. You're not blind: When you, when you see it you want to die. You're not blind You're not blind You're not blind You're not blind: but you'll wish that you were when you see her with me. |
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3:27 | ||||
from Pulp, Pulp - His N Hers (1994)
You said you wanted some space ...
Well is this enough for you? ... This is what you've waited for ... No dust collecting in the corners ... No cups of tea that got cold before you drank them ... Tonight ... travelling at the speed of thought ... We're going to escape into the stars ... It doesn't matter if the lifts are out of order ... Or the car won't start ... We're rising up ... above the city ... over forests ... over fields ... Rivers and lakes ... into the clouds ... and up above us ... The whole universe is shining a welcome ... Did you ever really think this day would happen ... After days trying to sell washing-machines on your own? ... It looked like we never left the ground ... But we're weightless ... floating free ... We can go wherever we want ... solar systems ... constellations ... galaxies ... I'll race you to the nearest planet ... How may times have you wished upon a star? ... Now you can touch it ... you can touch the stars ... Go on ... don't be afraid ... "I only wanted some space" ... Well is this enough for you? ... Is it ? ... Well the stars are bright ... but they don't give out any heat ... The planets ... are lumps of rock ... floating in a vacuum ... Yeah, space is cold ... when you're on your own ... I think it's time to go home ... pulling my strings ... Like a kite that flew too high ... and now it's time to come down ... Look out below ... Wait 'til I get back ... You can see something ... You can see space ... but now I know ... it's O.K. ... Space is O.K. ... but I'd rather ... I'd rather get my ... I'd rather get my kicks down below ... oh yeah ... come on ... |
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2:37 | ||||
from Pulp, Pulp - His N Hers (1994)
Wearing a shirt that was trying too hard,
Pissed on a train and he's falling around. And then I turned around and you were out of sight, And now there's nowhere for me to stay tonite. And then I walked around town just to catch you out, I thought I'd lost myself somewhere in the nite. Oh is he bigger? and does he make you laugh? Mamamamamamamamamamamamamamamama let it go. I could never do anything else, So what am I gonna do with myself? I saw him kiss you in the afternoon Cos I was next door in a double room. I was listening through the wall as he laid you down. I don't know what you did, Oh but I heard the sound. Oh is he better? Does he make you scream? Mamamamamamamamamamamamamamamama let it go. You've got to tell me know if he's better than me. I need to know, oh can't you see? Something strange is getting stronger. I can't hang on any longer. Don't you know I want to go away? Oh jesus christ I know I'm gonna lose the game, I've only got myself to blame, oh yeah. Oh yeah. All right. I'm gonna leave town, I'm gonna catch a train. I'm going somewhere where I can start again. I'm gonna let it all go just like you said, I'll look for someone else who can take the blame. And is he younger? And can he make you laugh? Mamamamamamamamamamamamamamamama let it go. Oh, let it go. After seven years down a dead-end road I'm gonna get off here, I'm gonna let it go, Let it go. |
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3:03 | ||||
from Pulp, Pulp - His N Hers (1994)
Watching Nicky turn from a girl into a wife is like watching all the life drain out of Nicky.
Seventeen last June, thirty-four this May. What else can I say about you, Nicky? Oh no she's not painting any more. Spends the evenings locked indoors, and now, something's just not going right for Nicky. Oh yeah. Her mother said she'd mind the kid, and when it came she never did. Now you're not smiling anymore, no Nicky. Oh no no no no no no Nicky. I remember we went out and got stuck under a bridge. The kids were throwing stones at me and Nicky. If I could see her now, I'd shout across and say, "Hey Nicky - run away, do it now Nicky." Because she's not painting any more. She spends her evenings locked indoors, and now, something's just not going right for Nicky. Oh yeah. Her mother said she'd mind the kid, but when it came she never did. Now you're not smiling anymore, no Nicky. Oh no no no no no no Nicky. Oh Nicky. Oh Nicky. Nicky. Mamamamamamamamamama.... Oh she's not painting any more. Spends the evenings locked indoors, and now, something's just not going right for Nicky. Yeah yeah yeah yeah yeah yeah Nicky. Ma ma ma ma ma ma Nicky. Oh whoa whoa whoa whoa oh Nicky. Ma ma ma ma ma ma Nicky. Oh yeah yeah yeah yeah. Nicky. |
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3:36 | ||||
from Pulp, Pulp - His N Hers (1994) | |||||
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4:39 | ||||
from Pulp, Pulp - His N Hers (1994)
I never thought that you would come / your sister said your nerve had gone
You're trying to make it straight right now but I don't think that you know how Your sister knows / she wears your clothes / she laughs at all those things you chose Your sister knows / takes off your clothes we use your bed for goodness knows / Ow I left something where I knew you'd find it Lift your pillow and you'll see / and he's coming round today Hey hey / Check out if you're still alive / talking dirt won't change your life Listen hard and you can hear her saying not to be so afraid Loosen up and lay right down / watch her as she's going down It's easy when you stop pretending that you just got lost on the way na na na now now Your sister knows / she wears your clothes she laughs at all those things you chose / Your sister knows takes off your clothes / We use your bed for goodness knows I can't remember where we met / I can't remember what we said I can't forget the things we did / when everything just seemed to fit Your sister knows / takes off your clothes we use your bed for goodness knows / She's says it's better with two if you'd just stop being so stuck up / and he's coming round today Hey hey / Check out if you're still alive / talking dirt won't change your life Listen hard and you can hear her saying not to be so afraid Loosen up and lay right down / watch her as she's going down It's easy when you stop pretending that you just got lost on the way Try it; you might like it / But you might / smudge your lipstick and he's coming round today / Check out if you're still alive talking dirt won't change your life Listen hard and you can hear her saying not to be so afraid Loosen up and lay right down / watch her as she's going down It's easy when you stop pretending that you just got lost on the way Loosen up and lay right down / watch her as she's going down It's easy when you stop pretending that you just got lost on the way It's easy when you stop pretending that you'll never ever see her, yeah you've seen her going down (and down and down and down and down) |
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4:19 | ||||
from Pulp, Pulp - His N Hers (1994)
She / she used to live with his brother
Now she's an unmarried mother / with another / on the way He's seond rate / twisted out of shape and he looks a state, it costs so much to look this rough They go to town / they like to shop around / and look at all those things All those things they never wnated anyway / She hates his hair that stupid coat he wears / but sometimes second best is the best that you can get Oh yes / oh somebody told me / 'cos seconds turn to hours and the hours turn into days / but still it feels like morning The first time leaves its trace / and then slides into second place and still it feels like morning / At night they try to fly hold on tight and close their eyes / and they hit the ground in the morning But in the morning it's raining / Oh Christ you're always complaining can't you think of something else / It's nearly-nu a bargain basement made for two / and if you blur your eyes you could be anywhere / you want yourself to be Oh yeah, it's bad / I know you want to laugh, so laugh But sometimes second best / Is all that you can get Oh yeah / oh somebody told me / the seconds turn to hours and the hours turn into days / but still it feels like morning The first time leaves its trace / and then slides into second place and still it feels like morning / At night they try to fly hold on tight and close their eyes / and they hit the ground in the morning But you're so perfect you don't interest me at all You're golden boy fell down / Don't you know / he hasn't got a personality? And I know / he said he'd last all night then gave you seconds / yeah The seconds turn to hours / and the hours turn into days but still it feels like morning / The first time leaves its trace and then slides into second place / and still it feels like morning At night they try to fly / hold on tight and close their eyes and they hit the ground in the morning / My God they're still alive they got it wrong but they still tried / and they made it through to the morning. |
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6:18 | ||||
from Pulp, Pulp - His N Hers (1994)
His `n` HersI've got the time / and you've got the space / I'm gonna wipe you down
and lick the smile off your face, the smile off your face Though we know that it's wrong / towel sets / matching combs Oh it looks so good but does it turn you on? Oh... / I want you now / and I want you here / so lie down by the fire and if the neighbours hear, the neighbours hear 'cos they don't understand / what you've got / in your hand Oh it looks so good but does it turn you on? Oh... yeah! / Are we going to do it again? Sideways? / I was still in the queue when you came Delivered me from his 'n' hers / you pulled the units down Delivered me from his 'n' hers / and when I saw his face oh it made me feel better / Oh now it's gone too far / we gave up hope and the future's bleak / just a soap on a rope, a soap on a rope Put the rope around his neck Pull it tight / he's erect / oh and it looks so good but does it turn you on? Oh... yeah! / Are we going to do it again? Shove it in sideways / I was still in the queue when you came Delivered me from his 'n' hers / you pulled the units down Delivered me from his 'n' hers / and when I saw his face oh it made me feel better So we laid in bed afterwards and / she asked me what made me frightened / and I said "I'm frightened of Belgian chocolates / I'm frightened of pot pourri I'm frightened of James Dean posters I'm frightened of twenty-six inch screens / I'm frightened of remote control I'm frightened of endowment plans / I'm frightened of figurines I'm frightened of evenings in the Brincliffe Oaks searching for a conversation." "Oh you're stupid," she said / and she took my hand she took my hand and she said / "I want I want you / I want you to / I want you to touch I want you to touch me / I want you to touch me." Oh... / Are we going to do it again? / Shove it in sideways I was still in the queue when you came Delivered me from his 'n' hers / you pulled the units down Delivered me from his 'n' hers / and when I saw his face you know it made me feel better. |
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5:55 | ||||
from Pulp, Pulp - His N Hers (1994)
Doorways / corners / and the street lights dance in your eyes
Behind the cinema / in the rain / in the subway where the walls crumble and cover you in fine dust 'cos we haven't got a home to go to / touch me on the back seat, on the top deck / talk dirty / on the back row can you feel me / against you? / oh no / we shouldn't / we shouldn't we shouldn't / I want to / ...mmmm... / What you gonna do if you go home and he's not there? it wouldn't be the same if we didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow Someone wants to watch by the side of Alena Stores in the doorway, in the rain / Did he see us? / Do you care? Pull the night-time tight around us / and we can keep each other warm while the cars drive by / en-route to dried-up dinners and strip-lit kitchens and the smell of gas and potato peelings What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow yeah We've got to go on meeting like this I don't want to live with you or anywhere near you I want to catch you unawares / undressing in front of a window maybe impressed with those things I drive by / Did you see me? Could you tell that I was watching? / Did it make it feel better? Yeah, it was good for me too / Did you think about me? Oh did you close your eyes? / Think that maybe it was my hand that was touching you / my breath against your face? and when you opened your eyes did the world tip off its axis for a few seconds? And you thought you'd caught a tiny glimpse of someone? Something here with it's shoulders moving towards you? Yeah I did too / and it felt good / and it felt good / and it felt good In a strange kind of way in a way that things that aren't supposed to feel good / sometimes do oh take it away / yeah What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow What you gonna do if you go home and he's not there? it wouldn't be the same if you didn't know it was wrong / oh touch me and then go wherever he takes you / oh yeah leave me and I'll walk it off in the rain somehow. |
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5:20 | ||||
from Pulp, Pulp - His N Hers (1994) | |||||
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4:59 | ||||
from Pulp, Pulp - His N Hers (1994)
Susan's babysitter / is seventeen years old / oh she looks like Susan
when she still lived at home / She's a lovely girl She's got long black hair / if you go home now / she might still be there Susan's babysitter / is twenty-one years old / she still looks like Susan when Susan was not at home She's a lovely girl / she's got long blonde hair / if you go home now she will not be there / 'cos she left last June She came home too soon / You were both upstairs / in your daughter's room She's a lovely girl. |
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9:49 | ||||
from Pulp, Pulp - His N Hers (1994)
Oh children of the future ... conceived in the toilets at Meadowhall ...
To be raised on the cheap cold slabs of garage floors ... Rolling empty cans down the stairway ... (don't you love that sound?) ... Whilst the thoughts of a bad social worker ran through his head ... Trying to remember what he learnt at training college ... Lester said he wasn't allowed in here ... so why don't you get lost? ... And if you grow up ... then when you grow up, maybe ... maybe you can live ... Live on Kelvin ... yeah you can live in Kelvin... On the promenade with the concrete walkways... Where pigeons go to die... (A woman on the fourteenth floor noticed that the ceiling Was bulging as if under a great weight. When the council investigated they discovered that the man in the flat Above had transported a large quantity of soil into his living-room, In which several plants he had stolen from a local park were growing. When questioned, the man said all he wanted was a garden. When questioned, the man said all he wanted was a garden.)... Oh God, I think the future's been fried... deep fried in Kelvin... And now it's rotting behind the remains of a stolen motorbike... I haven't touched it, honest... but there isn't anything else to do... We don't need your sad attempts at social conscience based On taxi-rides home at night when exhibition opens ... We just want your car radio... and those Reflux speakers... Now... suffer the little children to come to me... And I will tend their adventure playground splinters with cigarette burns And feed them fizzy orange and chips... And then they grow up straight and tall... And then they grow up to live... on Kelvin... Yeah... we can have ghettos too... Only we use air-rifles instead of machine-guns... Stitch that... and we drunk driving lights... In the end... the question you have to ask yourself is... Are you talking to me ... or are you chewing a brick? |
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5:40 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
This is our Music from a Bachelors Den
the sound for loneliness turned up to ten A horror soundtrack from a stagnant water bed and it sounds just like this this is the sound of someone losing the plot making out that they're okay when they're not you're gonna alike it but not a lot and the chorus goes like this Oh baby here comes the fear again The end is near again A monkey's bulit a house on your back You can't get anyone to come in the sack and here comes another panic attack Oh here we go again so now you know the words to our song, pretty soon you'll all be sing along When you're sad when you're lonely and it all turns out wrong When you've got the fear and when you're no longer searching for beauty or love just some kind of life with the edges taken off When you cann't even define what it is that you are frightened of this song will be here Oh baby here comes the fear again The end is near again If you ever get that chimp off your back if you ever find the thaing that you lack but you know you're only having a laugh and here we go again. Until the end |
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3:30 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
I am not Jesus though I have the same initials - I am the man who stays home and does the dishes. And how was your day? Is that woman still trying to do your head in? A man told me to beware of 33. He said, "It was not an easy time for me" but I'll get trhough even though I've got no miracles to show you. I'd like to make this water wine but it's impossible. I've got to get these dishes dry. I'll read a story if it helps you sleep at night. I've got some matches if you ever need a light. Oh I am just a man but i'm doing what I can to help you. I'd like to make this water wine but it's impossible. I've got to get these dishes dry. And I'm not worried that I will never touch the stars cos stars belong up in heaven and the earth is where we are. Oh yeah. And aren't you happy just to be alive? Anything's possible. You've got no Cross to bear tonight. No not tonight. No not tonight. I am not Jesus though I have the same initials. |
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4:01 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
I used to try very hard to make friends with everyone on the planet. I've seen you havin' it, havin' it yeah but now you've just had it. Entertainment can sometimes be hard when the thing that you love is the same thing that's holding you down. This man is dangerous , he just shed his load on your best party frock. Before you enter the palace of wisdom you have to decide: are you ready to rock? Oh can you party with me? Can you show me a good time? Do you even know what one looks like? & I don't need to hear your stories again - just get on the floor & show me what you're made of. Just what exactly are you made of? Baby, you're driving me crazy. Baby, you're driving me crazy. I was having a whale of a time until your uncle Psychosis arrived. Why do we have to half kill ourselves just to prove we're alive? I'm here whenever you need me & whenever you need me I won't be here. & have you ever stopped to ask yourself? If you didn't come to party then why did you come here? Why did you come here? Baby, you're driving me crazy. Baby, you're driving me crazy. & do you really know want to know just how come you turned out so dumb? When the party's over will you come home with me? When the party's over will you come home with me? Now the party's over will you come home to me. Will you come home to me?
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4:29 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
Help the aged, one time they were just like you,
drinking, smoking cigs and sniffing glue. Help the aged, don't just put them in a home, can't have much fun in there all on their own. Give a hand, if you can, try and help them to unwind. Give them home & give them comfort 'cos they're running out of time. In the meantime we try, try to forget that something lasts forever. No big deal so give us all a feel. Funny how it all falls away. When did you first realize? It's time you took an older lover baby. Teach you stuff although he's looking rough. Funny how it all falls away. Help the aged 'cos one day you'll be older too - you might need someone who can pull you through & if you look very hard behind the lines upon their face you may see where you are headed and it's such a lonely place. In the meantime we try, try to forget that something lasts forever. No big deal so give us all a feel. Funny how it all falls away. When did you first realize? It's time you took an older lover baby. Teach you stuff although he's looking rough. Funny how it all falls away. You can dye your hair but it's the one thing you can't change. Can't run away from yourself. In the meantime we try, etc. Funny how it all falls away. So help the aged. |
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6:24 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
you are hardcore you make e hard you name the drama and
I'll play the part it seems I saw you in some teenage wet dream I like your get up if you know what i mean I want it bad I want it now |
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3:23 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
Without you my life has become a hangover without end.
A movie made for TV: bad dialogue, bad acting, no interest. Too long with no story & no sex. Is it a kind of weakness to miss someone so much? To wish the day would go away? Like you did yesterday. Just like you did yesterday. & I can't think of a way to get through this pain: To be happy again to make it all alright & I know it must be bad 'cos sitting here right now, all I know is I can't even think, I can't even think of anything clever to say, to say So I say why pretend any longer? 'Cos I need you here with me. It's obvious that I miss you so much so please say you're gonna stay. So please say you're gonna stay. So please say you're gonna stay. The night is getting darker now and there's nothing on TV but I'll sit tight 'til morning light. Yeah, I'll wait until the day. Until the day that you say you're gonna stay. |
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3:18 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
Hey man, how come you treat your woman so bad? That's not the way you do it. No no no you shouldn't do it like that. I could show you how to do it right. I used to practice every night on my wife, now she's gone. Yeah, she's gone. You see your mother and me, we never got along that well you see. I'd love to help you but everybody's telling me you look like me but please don't turn out like me. You look like me but you're not like me I know. I had one, two, three, four shots of happiness. I look like a big man But I've only got a little soul. I only got a little soul. Yeah, I wish I could be an example. Wish I could say I stood up for you and fought for what was right. But I never did. I just wore my trenchcoat and stayed out every single night. You think I'm joking? Well, try me. Yeah, try me. Yeah come on, try me tonight. I did what was wrong though I knew what was right. I've got no wisdom that I want to pass on. Just don't hang round here, no, I'm telling you son. You don't wanna know me. Oh, that's just what everybody's telling me. And everbody's teling me you look like me but please don't turn into me. You look like me but you're not like me I hope. I have run away form the one thing that I ever made. Now I only wish that I could show you - wish I could show a little soul. Wish I could show a little soul. |
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5:00 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
Laid here with the advertising sliding past my eyes like cartoons from other peoples lives,
I start to wonder what it takes to be a man. Well I learned to drink & I learned to smoke & I learned to tell a dirty joke. If that's all there is then there's no point for me. *So please can I ask just why we're alive? 'Cos all that you do seems such a waste of time & if you hang around too long you'll be a man. Tell me 'bout it. Your car can get up to a hundred and ten - you've nowhere to go but you'll go there again & nothing ever makes no difference to a man. So you stumble into town & hold your stomach in. Show them what you've got tho' they 've seen everything. Yeah you're a beauty but they've seen your type before. You've got no need but still you want, so go and book that restaurant. The wine will flow & then you'll just fly away. [*Repeat (x2)] To a man To a man That's what I am. |
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8:30 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
Here in the night love takes control. Making me high making me whole.
*I don't know. Oh no, no, no. No I don't know. No, no, no. No I don't know. When I close my eyes I can see you lowering yourself to my level. I don't know where you got those clothes, you can take them off if it makes you feel better. Don't stop it now. Now is so right. Now as the day slips away & we slide into night. [*Repeat] I open my eyes & you're there, even better in the flesh it would seem. I'm so ready and willing & able it's untrue, to act out this love scene & make my dreams come true. & how many others have touched themselves whilst looking at pictures of you? How many others could handle it if all their dreams came true? I don't expect you to answer straight away, maybe you're just having an off day but I need to believe in you. Yes I do. Yes I do. Oh I want you here in my heart. Here in my head. Live all your dreams for tonight here in your bed. [*Repeat] So roll the soundtrack and dim the lights 'cos I'm not going home tonight. This love scene has begun. There's nothing left for us to do but get it on. Lets make this the greatest love scene from a play no-one's thought up yet. I know you're feeling the same as me but what you gonna do about it? Now here's an exclusive: I've wanted you for years. I only needed the balls to admit it. When the unbelievable object meets the unstoppable force there's nothing you can do about it. No. I will light your cigarette with a star that has fallen from the sky. Breathe in, breathe out, I love the way you move. Don't let anyone tell you any different tonight. You are beauty, you are class, you showed it all but you still kept a little piece back just for me. A little piece back just for me. Just for me. Oh I don't know how you do it but I love the way you do it, when you're doing it to me. & if this is a dream then I'm going to sleep for the rest of my life. For the rest of my life For the rest of my life For the rest of my life |
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5:45 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
You look just like Sylvia, well you look like her to me The way she wore her hair then, oh, the way she used to be I've not seen her for a long time, though I've heard she's still around Her father's living with some girl who's a year younger than her She's living in the country now, yeah, oh, she's trying to get better Her beauty was her only crime, yeah, I remember Sylvia So keep believing and do what you do I can't help you but I know things are gonna get better And please stop asking what it's got to do with you Oh, keep believing cos you know that you deserve better Who's this man you're talking to, can't you see what he wants to do He thinks if he stands near enough then he will look as good as you Oh, he don't care about your problems, he just wants to show his friends I guess I'm just the same as him, I just didn't know it then I never understood you really and I know it's too late now You didn't ask to be that way, oh, I'm sorry Sylvia So keep believing and do what you do I can't help you but I know things are gonna get better And please stop asking what it's got to do with you Oh, keep believing cos you know that you deserve better Oh, it's true yeah So please stop asking what it's got to do with you Oh, keep believing cos you know that you deserve better Yeah you know that you deserve better Oh you know that you deserve better Oh Sylvia |
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4:55 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
Come & play the tunes of glory -
raise your voice in celebration of the days that we have wasted in the cafe in the station. & learn the meaning of existence in fortnightly instalments. Come share this golden age with me in my single room apartment & if it all amounts to nothing - it doesn't matter, these are still our glory days. Oh my face is unappealing and my thoughts are unoriginal. I did experiments with substances but all it did was make me ill & I used to do the I Ching but then I had to feed the meter. Now I can't see into the future but at least I can use the heater. Oh it doesn't get much better than this 'cos this is how we live our glory days. Oh & I could be a genius if I just put my mind to it & I, I could do anything if only I could get 'round to it. Oh we were brought up on the Space-Race, now they expect you to clean toilets. When you have seen how big the world is how can you make do with this? If you want me I'll be sleeping in - sleeping in throughout these glory days. These glory days can take their toll, so catch me now before I turn to gold. Yeah we'd love to hear your story just as long as it tells us where we are - that where we are is where we're meant to be. Oh come on make it up yourself - you don't need anybody else. & I promise I won't sell these days to anybody else in the world but you. No-one but you [x4] Ooh, ooh, ooh, ooh. |
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14:56 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
The dust has settled,
replaced the bulbs in all the lights. I guess I'll get no sleep tonight. A revolution happened. Oh, sorry you haven't heard? We are the children of the new world. If you're quiet you can watch if you like. They say the future's beginning tonight. Whole empires will crumble. Civilisations will fall. Lie on the bed, hear the sound of it all. No anger, no guilt & no sorrow: it sounds unlikely, I know, but tomorrow you will wake up to find that your whole life has changed. Although nothing looks different a revolution took place. I love the way you do it, I love the way you put them on. You know the answers but you get it wrong. (Just to confuse things). Why did it seem so difficult to realise a simple truth? The revolution begins & ends with you. Now all the breakdowns & nightmares look small. Now we decided not to die after all. Because the meek shall inherit absolutely nothing at all. If you stopped being so feeble you could have so much more. The answer was here |
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5:14 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
I thought that you were joking,
when you said "I want to see you, to discuss your contribution, to the future of our nations heart and soul", "Six o'clock my place Whitehall", but I arrived just after seven, but you said "it dosent matter, "I under stand your situation and your image I'm flattered, I'd just like to tell you, that I love all of your albums, could you sign this for my daugter?, she's in hospital her name is Miriam, now ill get down to the gist:, do you want a line of this?, are you a *sniff sniff* socialist?, I'm doing fine, buzzzzzzzing all the time, just one hit, and I feel great, and I support, the welfare state, you must be a soicalist because your always of out on the piss, in your private members bar, yes you are, you superstar, well you sing about common people, and the mis-shapes and the misfits, so can you bring them to my party, can you get them all to to sniff this?, all I'm really saying is, come on and rock the vote for me, all i need is come on, roll up that note for me, the gist of all this is, do you want hist or do you want misses?, are you a *sniff sniff* socialist, socialist, socialist, you can be just what you want to be, just as long as you don't try and compete with me, and we've waited such a long time for a chance to help our own kind, please come on and tow the party line, you owe it to yourself, don't think of anyone else, we promise we won't tell, we won't tell, we won't, tell. |
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5:13 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
She said she trained to be a dancer
but she had a proper job by day Charlie Chaplin knew her father before he passed away She asked could I help her with a problem She doesn't get out much no more "I'm not looking for a lover - no, no, no I wanna dance that's all" I wanna dance that's all I wanna dance that's all I wanna dance that's all And all around the world are people singing "hallelujah" And every man in town wants to do it to you With your back up against the cigarette machine Oh, it's bad for your health if you know what I mean - oh yeah Oh yeah And the guys at the front have seen your act one million times before And nobody does it quite the same, so they're sitting down for more But you're making them feel so useless and dumb 'cos they've seen it all and they still can't come Oh, let me tell you - it's a dirty world Oh, it's a dirty world It's a dirty world It's a dirty world It's a dirty world And everybody in the house says "whoah" And everybody in the house says "yeah!" And everybody in the house says "whoah" And everybody in the house says "yeah!" With the period features and original dust and the china everywhere And you dance 'til the place goes up in flames And you lay down in the charred remains That's where I come in with my second-hand excuse for technique, yeah Technique, yeah Well, ain't that a treat, yeah? And everybody in the house says "whoah" And everybody in the house says "yeah!" And everybody in the house says "whoah" And everybody in the house says "yeah!" You see, I always wanted to be a dancer but I just could not get it right And it got me down at parties so I used to sit and drink all night Now I see it's not so hard all I needed was a partner Someone even dirtier than me And I'm so glad I found you Yeah, I'm so glad I found you Oh, it's a dirty world It's a dirty world It's a dirty world It's a dirty world ... And everybody in the house says "whoah" And everybody in the house says "yeah!" And everybody in the house says "whoah" And everybody in the house says "yeah!" ... |
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4:31 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
Don't bother saying sorry
Why don't you come in? Smoke all my cigarettes - again. Everytime I get no further How long has it been? Come on in now Wipe your feeton my dreams. You take up my time Like some cheap magazine When I could have been learning something Well, you know what I mean. I've done this before And will do it again C'mon and kill me baby Whilst you smile like a friend And I'll come running Just to do it again. I can't believe it That this is still going on Just how stupid can one person be? Just how stupid and wrong You are that last drink I never should have drunk You are the body hidden in the trunk You are the habit I can't seem to kick You are my secrets on the front page every week. You are the car I never should have bought You are the train I never should have caught You are the but that makes me hide my face You are the party that makes me feel my age. Like a car wash I can see but I just can't avoid Like a plane I've been told I never should board like a film that's so bad but I've just got to stay 'til the end Let me tell you - it's lucky for you that we're friends |
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5:10 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
Oh I'm back in the full effect / I can't even hold myself erect
I got nothing that I wanna say / I'm gonna say it anyway I know you think that I've lost it, baby I know you think that my star is fading / Used to be a contender Now you're just a pretender / Psychic karaoke every weekend You don't fit those clothes anymore Why don't you take them back to the charity store While you're there you could always hand yourself in You're into green issues - start recycling You hide behind your woman when you're out in your town Show her up and blame her for holding you down Holding you down, holding you down You're the only one who's holding you down You're only ever polite when you're out of your box Cocker's short for... sucker / Sucker of... / Oh, oh La na na na / Oh, oh / Sucker of... / Oh, oh / La na na na Oh, oh / When I got up today I had that feeling again Everything was OK, then the world started shaking Now I'm trying to sleep it away / Oh but I can't sleep it away Can you answer this question, can you answer it right: Have you ever done anything good in your life? Have you ever done anything that wasn't just for yourself? Are you capable of giving? / Are you capable of giving just for the sake of it, without expecting anything in return? I'm only trying to give you what you've come to expect Just another song 'bout single mothers and sex Single mothers and sex, single mothers and sex Just another song 'bout single mothers and sex OK, you've heard it before, it's nothing special But it's a living, can't you see / I'm a professional Oh, oh / La na na na / Oh, oh / I'm a professional Oh, oh / La na na na / Oh, oh / Sleep on my darling Sleep on, don't wake as I leave / I've been rehearsing this scene so long now Don't interrupt me as I do it for real / The bedroom floor is treacherous A teacup could be disastrous / 'Cos it'll mean I would have to say What was written on the letter I posted yesterday So that it would get here / When I was gone / And you awoke Oh, she'll meet me from the train / And she'll never know a thing About how I talk with my mouth full / And only bath once a week How I'm nicer the first time you meet me than the next And I'm rapidly losing interest in sex / Yeah, I'm rapidly losing interest in sex What's the point in making it over-emotional? / You can do it the hard way Or you can be a professional / Oh, oh / La na na na Oh, oh / I'm a professional / Oh, oh / La na na na Oh, oh / Sleep on my darling / Sleep on my love / Sleep on my darling Sleep on my love / Sleep on my darling / Sleep on my love Sleep on my darling / Sleep on my love |
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4:43 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
Now let's sit down too, 'cause I'm a ladies man
I've got my work cut out, I'm doing what I can So hold me, touch me, thrill me, don't ever let me go Don't ask me to explain it 'Cause you don't want to know Oh your hair is beautiful tonight Oh and I know the feeling's right Just for the surfaces I feel I just woke up so come on and hold me Come on and hold me, hold me, hold me Yeah yeah yeah I know a place where we can go And wear just what we want I don't want to be me, I get so tired of (?) So don't ask any questions and I won't tell no lies Stop moving like some housewife and give yourself tonight Oh your hair is beautiful tonight Oh and I know the feeling's right Just for the surfaces I feel I just woke up so come on and hold me Come on and hold me Hold me, hold me Yeah yeah yeah |
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3:49 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
If you stay out all night that's alright by me
But if you must kiss those guys you could At least clean your teeth I don't mean to put you down But you've taken everything That I own Don't tell me you want some more cause I'm closed Who is this laughing boy Who ladders your tights? Please tell him to cut the noise Cause it's spoiling my nights I just want to get some rest And he's talking to his Ma on the phone Well, if he's So homesick he can go home I don't need this anymore And it's written in the stars I Must go And will I come back for more? I don't know I don't know. |
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3:12 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
We are the boyz
And we are class act Getting trashed so make some noise We are the boyz We are the lads We sleep with slags We nick their fags We got no choice We are the boyz Oh we are the boyz And we don't ask why Because we're alive We are the boyz We are the boyz We're in the place So shut your face You got no choice We are the boyz We are the guys We're getting high While you're getting by So make some noise Cos we are the boyz We are the boyz And we don't ask why Cos we're always right Because we're alive Oh we are the boyz We are the boyz And don't look now Cos we're coming down Don't make no noise Cos we are the boyz Now we are the men And always been It won't happen again But we have no choice Cos we're the boyz Oh we were the boyz But we're not anymore No, now we're so mature Now we've cut it short Because we're not so sure No, we're not so sure Oh no, we're not so sure Not so sure Not so sure as we were Oh we were the boyz We were the boyz Oh we were the boyz Come on We're still the boyz Oh we're still the boyz Oh we're still the boyz Oh come on we are the boyz Oh we are the boyz Oh we are the boyz |
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4:51 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
Tomorrow never lies so live for today
Don't be afraid of the skeletons of yesterday Each morning brings you closer to your goal so grab your chance don't let it go The city streets are littered with the casualties the could'ves and the should'ves and the would've beens Don't let this chance slip by / Because tomorrow never lies Tomorrow never lies if you live tomorrow today There are those who would shoot you down / ah there's always someone wants to shoot you down but you know they're never gonna be able to shoot you down if you live tomorrow today / if you live tomorrow today The night time blazes with all your nightmares come to life But you can face the danger knowing that your cause is right and leave them all below you / bleeding as you rise into the night Because you know tomorrow never lies / no, tomorrow never lies no, it's never, never gonna lie if you leve tomorrow today There are those who would shoot you down / ah there's always someone who wants to shoot you down but they're never ever gonna be able to shoot you down if you live tomorrow today / yeah if you leve tomorrow today Cos you, you gotta live tomorrow today / Live it because tomorrow never lies tomorrow never lies / oh no. |
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4:14 | ||||
from Pulp, Pulp - This Is Hardcore (1998) | |||||
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4:54 | ||||
from Pulp, Pulp - This Is Hardcore (1998) | |||||
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4:20 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
When I get lost & I can't find my direction
When I get lost I'm gonna follow my erection I don't need no compass I don't need no map Just gonna follow Cyclops Sat right here in my lap When I get lost & can't find my direction When I get lost I'm gonna follow my erection |
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4:28 | ||||
from Pulp, Pulp - This Is Hardcore (1998) | |||||
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3:49 | ||||
from Pulp, Pulp - This Is Hardcore (1998) | |||||
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2:06 | ||||
from Pulp, Pulp - This Is Hardcore (1998)
You are hardcore, you make me hard. You name the drama and I'll play the part. It seems I saw you in some teenage wet dream. I like your get up if you know what I mean. I want it bad. I want it now. Oh can't you see I'm ready now. I've seen all the pictures, I've studied them forever. I wanna make a movie so let's star in it together. Don't make a move 'til I say, "Action." Oh, here comes the Hardcore life. Put your money where your mouth is tonight. Leave your make-up on & I'll leave on the light. Come over here babe & talk in the mic. Oh yeah I hear you now. It's gonna be one hell of a night. You can't be a spectator. Oh no. You got to take these dreams & make them whole. Oh this is Hardcore - there is no way back for you. Oh this is Hardcore -this is me on top of you & I can't believe that it took me this long. That it took me this long. This is the eye of the storm. It's what men in stained raincoats pay for but in here it is pure. Yeah. This is the end of the line. I've seen the storyline played out so many times before. Oh that goes in there. Then that goes in there. Then that goes in there. Then that goes in there. & then it's over. Oh, what a hell of a show but what I want to know: what exactly do you do for an encore? 'Cos this is Hardcore.
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3:47 | ||||
from Pulp, Pulp - Different Class (1995)
Mis-shapes, mistakes, misfits.
Raised on a diet of broken biscuits, oh we don't look the same as you, we don't do the things you do, but we live around here too, Oh really. Mis-shapes, mistakes, misfits, we'd like to go to town but we can't risk it, oh cos they just want to keep us out. You could end up with a smack in the mouth just for standing out, Oh really. Brothers, sisters, can't you see? The future's owned by you and me. There won't be fighting in the street. They think they've got us beat, but revenge is going to be so sweet. We're making a move, we're making it now, we're coming out of the side-lines. Just put your hands up - it's a raid yeah. We want your homes, we want your lives, we want the things you won't allow us. We won't use guns, we won't use bombs, we'll use the one thing we've got more of - that's our minds. Check your lucky numbers, that much money could drag you under, oh. What's the point of being rich, if you can't think what to do with it? Cos you're so bleeding thick. Oh we weren't supposed to be, we learnt too much at school now we can't help but see, that the future that you've got mapped out is nothing much to shout about. We're making a move, we're making it now, we're coming out of the side-lines. Just put your hands up - it's a raid yeah. We want your homes, we want your lives, we want the things you won't allow us. We won't use guns, we won't use bombs, we'll use the one thing we've got more of - that's our minds Brothers, sisters, can't you see? The future's owned by you and me. There won't be fighting in the street. They think they've got us beat, but revenge is going to be so sweet. We're making a move. We're making it now. We're coming out of the sidelines. Just put your hands up - it's a raid. We want your homes, we want your lives, we want the things you won't allow us. We won't use guns, we won't use bombs, we'll use the one thing we've got more of - that's our minds. And that's our minds. Yeah. |
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3:11 | ||||
from Pulp, Pulp - Different Class (1995)
When you raise your pencil skirt,
like a veil before my eyes, like the look upon his face as he's zipping up his flies. Oh I know that you're engaged to him. Oh but I know that you want something to play with baby. I'll be around when he's not in town, I'll show you how you're doing it wrong, I really love it when you tell me to stop. Oh it's turning me on. You can tell me some lies, about the good times that you've had, but I've kissed your more than twice, and now I'm working on your Dad. Oh baby. I'll be around when he's not in town, I'll show you how you're doing it wrong, I really love it when you tell me to stop. Oh it's turning me on. If you look under the bed, then I can see my house from here, so just lie against the wall, and watch my conscience disappear now baby I'll be around when he's not in town, I'll show you how you're doing it wrong, I really love it when you tell me to stop. Oh it's turning me on. I only come here cause I know it makes you sad. I only do it cause I know you know it's bad. Oh yes I know, that it's ugly and it shouldn't be like that. Oh but oh it's turning me on. |
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5:50 | ||||
from Pulp, Pulp - Different Class (1995)
she came from Greece she had a thirst for knowledge,
she studied sculpture at Saint Martin's College, that's where I, caught her eye. she told me that her Dad was loaded, i said "In that case i'll have a rum and coca-cola." she said "fine." and in thirty seconds time she said, "i want to live like common people, i want to do whatever common people do, i want to sleep with common people, i want to sleep with common people, like you." well what else could I do - i said "I'll see what I can do." i took her to a supermarket, i don't know why but I had to start it somewhere, so it started there. i said pretend you've got no money, she just laughed and said, "oh you're so funny." i said "yeah? well I can't see anyone else smiling in here. are you sure you want to live like common people, you want to see whatever common people see, you want to sleep with common people, you want to sleep with common people, like me." but she didn't understand, she just smiled and held my hand. rent a flat above a shop, cut your hair and get a job. smoke some fags and play some pool, pretend you never went to school. but still you'll never get it right, cos when you're laid in bed at night, watching roaches climb the wall, if you call your Dad he could stop it all. you'll never live like common people, you'll never do what common people do, you'll never fail like common people, you'll never watch your life slide out of view, and dance and drink and screw, because there's nothing else to do. sing along with the common people, sing along and it might just get you through, laugh along with the common people, laugh along even though they're laughing at you, and the stupid things that you do. because you think that poor is cool. i want to live with common people, i want to live with common people etc |
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5:55 | ||||
from Pulp, Pulp - Different Class (1995)
I spy a boy, I spy a girl.
I spy the worst place in the world, in the whole wide world. Oh you didn't do bad, you made it out, I'm still stuck here oh but I'll get out. Oh yeah I'll get out. Can't you see the giant that walks around you seeing through your petty lives? Do you think I do these things for real? I do these things just so I survive. And you know I will survive. It may look to the untrained eye, I'm sitting on my arse all day. I'm biding time until I take you all on. My Lords and Ladies, I will prevail, I cannot fail. Cos I spy. Oh I've got your numbers, taken notes, I know the ways your minds work; I've studied. And your minds are just the same as mine except that you are clever swines, you never let mask slip, you never admit to it, you're never hurried. Oh no no no. And every night I hone my plan how I will get my satisfaction, how I will blow your paradise away away, away. Cos I spy. And it's just like in the old days - I used to compose my own critical notices in my head. "The crowd gasp at Cocker's masterful control of the bicycle, skilfully avoiding the dog turd next to the corner shop." Imagining a blue plaque above the place I first ever touched a girl's chest, but hold on, you've got to wait for the best. You see you should take me seriously. Very seriously indeed. Cause I've been sleeping with your wife for the past sixteen weeks, smoking your cigarettes, drinking your brandy, messing up the bed that you chose together. And in all that time I just wanted you to come home unexpectedly one afternoon, and catch us at it in the front room. You see I spy for a living, and I specialise in revenge, on taking the things I know will cause you pain. I can't help it, I was dragged up. My favourite parks are car parks, grass is something you smoke, birds are something you shag. Take your "Year in Provence" and shove it up your arse. Your Ladbroke Grove looks turn me on, yeah. With roach burns in designer dresses, skin stretched tight over high cheek-bones, and thousands of tiny dryness lines beating a path to the corners of your eyes. And every night I hatch my plan, it's not a case of woman v man. It's more a case of haves against haven'ts. And I just happen to have got what you need, just exactly what you need yeah. La la la la la la la la la la, in the midnight hour. La la la la la la la la la la, I will come to you, I will come to you, I will take you from this sickness, dinner parties and champagne, I'll hold your body and make it sing again. Come on - sing again, let's sing again, oh yeah, Cos I spy, yes, I spy. I spy a boy, and I spy a girl. I spy the chance, to change the world, to change your world. |
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4:34 | ||||
from Pulp, Pulp - Different Class (1995)
Well we were born within an hour of each other
Our mothers said we could be sister and brother Your name is Deborah. Deborah - it never suited you Oh and they said that when we grew up We'd get married and never split up We never did it, although I often I thought of it Oh Deborah, do you recall? Your house was very small with wood-chips on the wall When I came around to call you didn't notice me at all And I said "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road" I never knew that you'd get married I would be living down here on my own On that damp and lonely Thursday years ago You were the first girl in school to get breasts Martyn said that you were the best The boys all loved you but I was a mess I had to watch them try to get you undressed We were friends that was as far as it went I used to walk you home sometimes but it meant Oh, it meant nothing to you - cos you were oh so popular Oh Deborah, do you recall? Your house was very small with wood-chips on the wall When I came around to call you didn't notice me at all And I said "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road" I never knew that you'd get married I would be living down here on my own On that damp and lonely Thursday years ago Oh yeah, oh yeah Oh Deborah, do you recall? Your house was very small with wood-chips on the wall When I came around to call you didn't notice me at all And I said "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road" I never knew that you'd get married I would be living down here on my own On that damp and lonely Thursday years ago Oh, what are you doing Sunday, baby? Would you like to come and meet me maybe? You can even bring your baby, oh. Oh, what are you doing Sunday, baby? Would you like to come and meet me maybe? You can even bring your baby. |
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3:30 | ||||
from Pulp, Pulp - Different Class (1995)
She doesn't have to go to work,
but she doesn't want to stay in bed, cos it's changed from something comfortable, to something else instead. This bed has seen it all, from the first time to the last, the silences of now, and the good times of the past. And it only cost ten pounds, from a shop just down the road, but that was seven years ago, and things were very different then. It didn't get much rest at first, the headboard banging in the night. The neighbours didn't dare complain, oh everything was going right. Now there's no need to complain, cos it never makes a sound. Something beautiful left town, and she doesn't even know its name. Now every night she plays the sad game ooh ah ah, called pretending nothing's going wrong oh, oh but she knows, if this show was televised, no one would watch it, not tonight but sven years ago. La la la la la la la Now there's no need to complain, cos it never makes a sound, something beautiful left town, and she never even knew its name. She doesn't have to go to work, but she doesn't want to stay in bed, cos it's changed from something comfortable, to something else instead. |
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3:19 | ||||
from Pulp, Pulp - Different Class (1995)
I wrote this song two hours before we met
I didn't know your name or what you looked like yet Oh, I could have stayed at home and gone to bed I could have gone to see a film instead You might have changed your mind and seen your friends Life could have been very different but then something changed Do you believe that there's someone up above? And does he have a timetable directing acts of love? Why did I write this song on that one day? Why did you touch my hand and softly say "Stop asking questions that don't matter anyway Just give us a kiss to celebrate here today something changed?" Oh, when we woke up that morning we had no way of knowing that in a matter of hours we change the way we were going Oh, where would I be now? Where would I be now if we never met? Would I be singing this song to someone else instead? I don't know, but like you just said something changed. |
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3:48 | ||||
from Pulp, Pulp - Different Class (1995)
Oh is this the way they say the future's meant to feel?
Or just 20,000 people standing in a field. And I don't quite understand just what this feeling is. But that's okay cos we're all sorted out for E's and wizz. And tell me when the spaceship lands cos all this has just got to mean something. In the middle of the night, it feels alright, but then tommorow morning. Oh then you come down. Oh yeah the pirate radio told us what was going down. Got the tickets from some fucked up bloke in Camden Town. Oh and no-one seems to know exactly where it is. But that's okay cos we're all sorted out for E's and wizz. At 4 o'clock the normal world seems very, very, very far away. Alright. In the middle of the night, it feels alright, but then tommorow morning. Oh then you come down. Just keep on moving... Everybody asks your name, they say we're all the same and it's "nice one," "geezer" but that's as far as the conversation went. I lost my friends, I dance alone, it's six o'clock, I wanna go home. But it's "no way," "not today," makes you wonder what it meant. And this hollow feeling grows and grows and grows and grows, and you want to phone your mother and say, "Mother, I can never come home again, cos I seem to have left an important part of my brain somewhere, somewhere in a field in Hampshire." Alright. In the middle of the night, it feels alright, but then tommorow morning. Oh then you come down. What if you never come down? |
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6:01 | ||||
from Pulp, Pulp - Different Class (1995)
The room is cold,
and has been like this for several months. If I close my eyes, I can visualise everything in it, right down, right down to the broken handle on the third drawer down of the dressing table. And the world outside this room, has also assumed a familiar shape, the same events shuffeled in a slightly different order each day. Just like a modern shopping centre. And it's so cold - yeah it's so cold. It's so cold yeah, it's so cold. What is this feeling called love. Why me, why you, why here, why now. It doesn't make no sense no. It's not convenient no. It doesn't fit my plans no. It's something I don't understand oh. F.E.E.L.I.N.G. C.A. double L.E.D. L.O.V.E. Oh what is this thing that is happening to me. And as I'm standing across this room, I feel as if my whole life has been leading to this one moment. And as I touch your shoulder tonight, this room has become the centre of the entire universe. So what do I do? I've got a slightly sick feeling in my stomach, like I'm standing on top of a very high building, oh yeah. All the stuff they tell you about in the movies, but this isn't chocolate boxes and roses. It's dirtier than that, like some small animal that only comes out at night. And I see flashes of the shape of your breasts, and the curve of your belly, and I may have to sit down and catch my breath. Oh. What is this feeling called love. Why me, why you, why here. And why now. It doesn't make no sense no. It's not convenient no. It doesn't fit my plans, but I got that taste in my mouth again oh. F.E.E.L.I.N.G. C.A. double L.E.D. L.O.V.E. What is this thing that is happening to me F.E.E.L.I.N.G. C.A.double L.E.D. L.O.V.E. What is this thing that is happening to me. Oh yeah, oh yeah, oh yeah, oh yeah. |
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4:06 | ||||
from Pulp, Pulp - Different Class (1995)
Why don't you shut the door,
and close the curtains, cos you're not going anywhere. He's coming up the stairs, and in a moment he'll want to see your underwear. You couldn't stop it now. There's no way to get out. He's standing far too near. How the hell did you get here. Semi-naked in somebody else's room. I'd give my whole life to see it. Just you, stood there, only in your underwear. If fashion is your trade, then when you're naked, I guess you must be unemployed yeah. Cos once it's underway, there's no escaping, the fact that you're a girl and he's a boy. You couldn't stop it now. There's no way to get out. He's standing far too near. How the hell did you get here. Semi-naked in somebody else's room. I'd give my whole life to see it. Just you, stood there, only in your underwear. If you close your eyes and just remember, that this is what you wanted last night. So why is it so hard for you to touch him. For you to go and give yourself to him? I couldn't stop it now. There's no way to get out. He's standing far too near. How the hell did you get here, semi-naked in somebody else's room. I'd give my whole life to see it. Just you, stood there, only in your underwear. Do, do do do do. Do, do. Do, do. Do, do, do, do, do. Do, do. Do, do. Oh yeh, I want to see you. Want to see you only in your underwear. |
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4:17 | ||||
from Pulp, Pulp - Different Class (1995)
There's nothing to do so you just stay in bed,
oh poor thing, why live in the world when you can live in your head? Mmm when you can go out late from Monday, till Saturday turns into Sunday, and now you're back here at Monday, so we can do it all over again. And you go aah ah ah I want a refund, I want a light, I want a reason, to make it through the night, alright. And so you finally left school, so now what are you going to do? Now you're so grown up, yeah you're oh oh oh oh oh so mature oh. Going out late from Monday, chuck up in the street on Sunday, you don't want to live till Monday, and have to do it all again. and you go aah ah ah I want a refund, I want a light, I want a reason for all this night after night after night after night. Oh I know that it's stupid but, I just can't seem to spend a night at home, cos my friends left town, and I'm here all alone ow. Oh yeah they say the past must die for the future to be born, in that case die little mother, die - ooh. Stomach in, chest out, on your marks, get set, go. Now, now that you're free, what are you going to be? And who are you going to see? And where, where will you go? And how will you know, You didn't get it all wrong? Is this the light of a new day dawning? A future bright that you can walk in? No it's just another Monday morning. Do it all over again, oh baby. La la la la la la Do do do do do do |
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3:43 | ||||
from Pulp, Pulp - Different Class (1995)
Now if you can stand,
I would like to take you by the hand, yeah, and go for a walk, past people as they go to work. Oh, let's get out of this place, before they tell us that we've just died. Move, move quick, you've gotta move. Come on it's through, come on it's time. Oh look at you, you, you're looking so confused, just what did you lose? If you can make an order could you get me one? Two sugars would be great, cos I'm fading fast, and it's nearly dawn. If they knocked down this place, this place, it'd still look much better than you. Move, move quick, you've gotta move. Come on it's through, come on it's time. Oh look at you, you, you're looking so confused, what did you lose? Oh, it's ok it's just your mind. If we get through this alive, I'll meet you next week, same place, same time. Oh move, move quick you've gotta move. Come on it's through, come on it's time. Oh look at you, you, you're looking so confused, what did you lose? That's what you get from clubbing it. You can't go home and go to bed, because it hasn't worn off yet, and now it's morning. There's only one place we can go. It's around the corner in Soho, where other broken people go. Let's go. |
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7:37 | ||||
from Pulp, Pulp - Different Class (1995)
She came from Greece she had a thirst for knowledge she studied sculpture at St Martin's college that's where I caught her eye She told me that her Dad was loaded I said "In that case I'll have rum and coca-cola." she said "Fine," and then in thirty seconds time she said "I want to live like common people I want to do whatever common people do I want to sleep with common people I want to sleep with common people like you." Well what else could I do? I said "I'll see what I can do." I took her to a supermarket I don't know why, but I had to start it somewhere so it started there I said "Pretend you've got no money." but she just laughed an said "Oh you're so funny." I said "Yeah? Well I can't see anyone else smiling in here Are you sure you want to live like common people you want to see whatever common people see you want to sleep with common people you want to sleep with common people like me?" But she didn't understand she just smiled and held my hand Rent a flat above a shop cut your hair and get a job Smoke some fags and play some pool pretend you never went to school But still you'll never get it right `cos when you're laid in bed at night watching roaches climb the wall if you called your Dad he could stop it all Yeah You'll never live like common people you'll never do what common people do you'll never fail like common people you'll never watch your life slide out of view and then dance, and drink, and screw because there's nothing else to do Sing along with the common people sing along and it might just get you through Laugh along with the common people laugh along even though they're laughing at you and the stupid things that you do because you think that poor is cool Like a dog lying in a corner they will bite and never warn you Look out they'll tear your insides out [muffled: I'm sorry, Mr Dalton, there's no need to be concerned] `cos everybody hates a tourist especially one who thinks it's all such a laugh yeah and the chip stain's grease will come out in the bath You will never understand how it feels to live your life with no meaning or control and with nowhere else to go You are amazed that they exist and they burn so bright whilst you can only wonder why Rent a flat above a shop cut your hair and get a job Smoke some fags and play some pool pretend you never went to school But still you'll never get it right `cos when you're laid in bed at night watching roaches climb the wall if you called your Dad he could stop it all You'll never live like common people you'll never do what common people do you'll never fail like common people you'll never watch your life slide out of view and dance, and drink, and screw because there's nothing else to do I want to live with common people like you I want to live with common people like you I want to live with common people like you I want to live with common people like you I want to live with common people like you I want to live with common people like you I want to live with common people like you I want to live with common people like you Aa-aa-ah la la la la... Oh yeah.
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4:32 | ||||
from Pulp, Pulp - Different Class (1995)
We didn't have no where to live,
we didn't have nowhere to go 'til someone said "I know this place off Burditt Road." It was on the fifteenth floor, it had a board across the door. It took an hour to pry it off and get inside. It smelt as if someone had died; the living-room was full of flies, the kitchen sink was blocked, the bathroom sink not there at all. Ooh, it's a mess alright, yes it's Mile End. And now we're living in the sky! I'd never thought I'd live so high, just like Heaven (if it didn't look like Hell.) The lift is always full of piss, the fifth floor landing smells of fish (not just on Friday, every single other day.) Below the kids come out tonight, they kick a ball and have a fight and maybe shoot somebody if they lose at pool. Ooh, it's a mess alright, yes it's Mile End. [mumbled mutterings... you love it...] Oo-ooh Nobody wants to be your friend 'cause you're not from round here, ooh as if that was something to be proud about. The pearly king of the Isle of Dogs feels up children in the bogs. Down by the playing fields, someone sets a car on fire I guess you have to go right down before you understand just how, how low, how low a human being can go. Ooh, it's a mess alright, yes it's Mile End. (don't do that! Leave it out!) Bababa... Lalala... |
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3:16 | ||||
from Pulp, Pulp - Different Class (1995)
I know I'm getting on / and you're so very young / but would you like to stay
until next Saturday / or Sunday? I'll give you your own room / it's next door to my room and some time in the night / well, maybe I just might Oh take your clothes off won't you please? You don't have to talk to me / just leave the light on so I can see You've got everything I need / Oh yeah You know I can't forget / that special night we met / at the local P.T.A. when your mother came to say / that you'd been taking days off school I turned and looked at you, I said "Yes, I understand / I'm gonna take this girl in hand." Oh take your clothes off, one two three No you don't have to talk to me / just leave the light on so I can see You've got everything you need / Oh yeah 'Cause I've never had a woman before I was too scared to touch the girls in the Poly And I don't know what it's like to be young 'Cause all my life I've been knocking on forty Oh yeah / Oh yeah / Oh yeah / Oh yeah <i>[Jarvis:]</i> So if I / put my hand / on your bosom... <i>[Candida:]</i> Yeah? <i>[Jarvis:]</i> ...would that / give you an orgasm? No that's not right / But, but if we / if we kissed with tongues <i>[Candida: giggles]</i> <i>[Jarvis:]</i> won't that / wouldn't that make / wouldn't that make you come? Oh take your clothes off won't you please? / No you don't have to talk to me just leave the light on so I can see / You've got everything I need Oh oh oh / Just one touch was all it took No you can't learn it from a book / Let's go upstairs and have a / look Oh you've got everything I need / Oh yeah / Oh yeah, oh yeah Oh yeah, oh yeah / Oh yeah / Hit me. |
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4:01 | ||||
from Pulp, Pulp - Different Class (1995)
Oh I know I don't own you
but I don't even know if I should phone you Someone's sending me letters saying you've been going with other fellers. And babe I want you. But I don't wanna cry. Or talk for an hour to a machine on the end of a telephone line. Oh it just kills me when all you got to do is call Oh do it any time cos there's never no-one home never no-one home Leave your message on the ansaphone. I'm not trying to be clever but at least we're not still living together All those calls in the evening if I answered they'd hang up without speaking And babe I want you, But I don't want to cry or talk for an hour to a machine on the end of a telephone line Oh it just kills me when all you got to do is call Oh do it any time cos there's never no-one home never no-one home Leave your message on the ansaphone *Beep* "Hello, its me. I just wanted to call and say it doesn't matter what you're up to. I just want you to stay in touch. That's all." Are you really not at home? Or are you there but not alone? Screening calls you don't want to receive meaning calls calls that come from me Oh I need to see you It's not enough for me just to hear you You said you'd be here by ten thirty but you want to stay out and be dirty Oh it just kills me when all you got to do is call Oh do it any time cos there's never no-one home never no-one home Leave your message on the ansaphone. |
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3:35 | ||||
from Pulp, Pulp - Different Class (1995)
Hey hey Paula, I never thought we'd last this long.
Your voice annoys me and your hair's all wrong, so wrong. Oh and Paula, I don't like any of your friends. Yes, and horoscopes just send me fast asleep. Oh funny how we still spend the night together, oh even though we don't see one thing the same. But we still do it again. Oh yeah we do it again. Oh Paula, I just can't get it through my head how you can look so bad but be so good in bed. So good. Oh funny how we still spend the night together, oh even though we don't see one thing the same. But still we do it again. Oh yeah we do it again, yeah. Oh funny how we still spend the night together, oh even though we don't see one thing the same. And still we do it again. Oh yeah we do it again. Oh now Paula. I think it's time that you should go. Until tonight at least and then we can go to bed. Let's go to bed. Ooooooo. Ooooooo. La-la-la-la-la-la-la-la-la. La-la-la-la-la-la-la-la-la (x3). Oh. |
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6:40 | ||||
from Pulp, Pulp - Different Class (1995)
Straight down the Parkway follow your nose to a place where nobody wants to go
It's a fare and a half; they're having a larf Everybody's broken or they're a dwarf Mirror mirror on the wall who is the ace-est of them all? The Catcliffe girl who gets out before her 18th birthday There's a little old man by the side of the road Just where he came from nobody knows He's so picturesque a physical wreck a dirty old bloke with no self-respect Ow! Oh god! You'd better leave town before you get caught in the Catcliffe Shakedown Yeah It's a step to the left; a step to the right You do the Catcliffe Shakedown with all of your might Oh, baby, shakedown shakedown shakedown Pudgy 12 year-olds in Union Jack shorts addicted to coffee-whitener and frankfurters. And those boys who said "Mister we just want your car 'cos we're taking a girl to the reservoir" are outside the pub. Fine figures of men; exercising and dieting just doesn't suit them. Have a meal in a glass we're having a laugh just come over here and your face we will smash Oh! Oh god! You'd better leave town before you get caught in the Catcliffe Shakedown Yeah Shakedown Shakedown Shakedown Oh no, it's not that bad really: Not if you've been living in Bosnia for the last year. Homebrew is still big news round these parts - no airing cupboard should be without it. They were going to open an airport - can you imagine it? "Whilst in the area why not stock up on string or try some of our duty-free Parkin?" Oh yeah. Let's go. See the rainbow high above the viaduct, glowing with all the colours of a bottle of spilt milk Oh, it's so beautiful, but I don't know what it means Oh, rainbow high above - what exactly are you advertising? And our idea of sophisticated humour is setting fire to our farts with disposable lighters. Why not try our delicious lager-style drink with a chocolate-flavoured candy-covered biscuit? "Look at those buttercups over there mummy!" "Hold one under your chin." "What's butter mummy?" "Oh, it's just a different make of margarine" See the rainbow high above the viaduct, glowing with all the colours of a bottle of spilt milk Oh, it's so beautiful, but I don't know what it means Oh, rainbow high above - what exactly are you advertising? The film now cuts to reveal who is watching this docudrama. A middle class couple sit in wonder as the titles roll. "All nicotine stains and beer-bellies in this programme were real." But upstairs in his room, amongst the Airfix planes, is a small boy. He sits in the dark, listening for the sound of the train that crosses the viaduct at four o'clock every morning. The train that carries the dismembered remains, the dismembered remains of Matchstick Men and Matchstick Cats & Dogs, and it's coming, and it's coming, coming... Oh yeah. "What you looking at?" "I don't know - label's fell off" "I'm going aht" "Am I so beautiful you can't stop looking at me?" "Am I so beautiful?" "You don't scare me" "I'll take you all on" "You and whose army?" "Me - me and my fist-y" Catcliffe you don't intimidate me, your Parkway and your shopping centre, your Panda Pops and pottery, your motorway junction, overwhelming stench of failure. Lives that never left first base, stunted by vapours from the cooling towers And I will do everything, everything in my power to get way from you. Oh yeah |
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3:50 | ||||
from Pulp, Pulp - Different Class (1995)
We have made a choice - no we don't want to die
We want to look the future firmly in the eye Speaking personally I have to say that I would like to dance again Yeah, we know that 99% is crap But we're the other 1% What you gonna do about that? We want something to happen We want it to come fast We want to dance again Oh, we can dance again Take a chance again If you can make it outdoors You can do it once more It's all right again And if you hold me tight I might just stay the night And we'll forget where we've been All the crap we have seen It's all right again All right again All right Can you believe that it was only yesterday That there was nothing going on - nothing to play We don't want trouble - no We only want to say: We'd like to dance again So although it doesn't mean a single thing Oh well, it might just make us laugh and it might just make us sing and it might help us forget that we don't know where we're going if we dance again Dance again Oh yeah Oh, we can dance again Take a chance again If you can make it outdoors You can do it once more It's all right again And if you hold me tight I might just stay the night We'll forget where we've been All the crap we have seen It's all right again Alright again Alright La la la la Oh, it's okay Oh, it's not the end of the world It's just some boys and some girls making fools of themselves Everybody's singing! We can dance again Take a chance again If you can make it outdoors You can do it once more It's all right again And if you hold me tight I might just stay the night We'll forget where we've been All the crap we have seen It's all right again All right again All right Oh, we can dance again Hold my hand Yeah it's all right Your hair is beautiful, yeah Ooh ooh ooh ooh Oh yeah, we can dance again Hold my hand Yeah it's all right Your hair is beautiful, yeah Ooh ooh ooh ooh La la la la la la |
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3:09 | ||||
from Pulp, Pulp - Different Class (1995)
(Do it)
Don't lose it He wants to use it But don't change a single thing He wants to put it down on paper and put it in a song to sing How your father went away How your mother got her way How your brothers never let you join in Didn't do too well at school Feel a failure but you'll Be famous if you let him touch you Don't lose it babe Don't go too straight Don't throw it away No, don't think it's all wrong No, no, don't lose it babe Don't throw it away It means more than a song They're pinheads Have you met them? But they've got nothing to say Oh, he just stands there in the corner and never dares join your game He wants to take you out to find out what it's all about 'cos he can see that you've got something But don't let him take you in he's only after just one thing and that's the thing that makes you different Don't lose it babe Don't go too straight Don't throw it away No, don't think it's all wrong Baby, don't lose it babe Don't throw it away It means more than a song So don't lose it Lose it These things are worthless You see them in a magazine T-t-trainers, slip-slip-dresses But you know what it means Oh They want a piece of something they've never felt Something they can't have and then you go And in the end they want to suck you dry 'Cos they know you turned out well And you don't wanna, don't wanna, don't wanna, don't wanna Don't lose it baby Don't give it away Don't go too straight Don't think it's all wrong Baby, don't lose it babe Don't throw it away It means more than a song Don't lose it Don't lose it Lose it Lose it Lose it Lose it Lose it Lose it Lose it |
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4:47 | ||||
from Pulp, Pulp - Different Class (1995)
As I was goin' over the Cork and Kerry mountains
I met Captain Farrell and his money he Was countin' I first produced my pistol and then produced my wager I said stand and Deliver or the devil he may take ya Oh ring dumb a doo dumb a da Wept for my daddy-o Wept for my daddy-o There's whiskey in the jar-o I took all of his money and it was a Pretty penny I took all of his money and I brought it home to Molly She swore that She'd love me, never would she leave me But the devil take that woman 'Cause you know she Tricks me easy Oh ring dumb a doo dumb a da Wept for my daddy-o Wept for my daddy-o There's whiskey in the jar-o Being drunk and weary I went to Molly's chamber I lay Down on the bed and I never knew the danger For about six or maybe seven in walked Captain Farrell I jumped up, grabbed hold of my pistols and I shot him with both barrels Oh ring dumb a doo dumb a da Wept for my daddy-o Wept for my daddy-o There's whiskey In the jar-o Now some men like fishin' and some men like a fowlin' And some men like Ta hear a cannon ball a rollin' Me I like sleepin' specially in my Molly's chamber But Here I am in prison, here I am with a ball and chain yeah Oh ring dumb a doo dumb a da Wept for my daddy-o Wept for my daddy-o There's whiskey in the jar-o Ahlalalala, Lalala... |
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6:18 | ||||
from Pulp, Pulp - Different Class (1995)
She came from Greece she had a thirst for knowledge she studied sculpture at St Martin's college that's where I caught her eye She told me that her Dad was loaded I said "In that case I'll have rum and coca-cola." she said "Fine," and then in thirty seconds time she said "I want to live like common people I want to do whatever common people do I want to sleep with common people I want to sleep with common people like you." Well what else could I do? I said "I'll see what I can do." I took her to a supermarket I don't know why, but I had to start it somewhere so it started there I said "Pretend you've got no money." but she just laughed an said "Oh you're so funny." I said "Yeah? Well I can't see anyone else smiling in here Are you sure you want to live like common people you want to see whatever common people see you want to sleep with common people you want to sleep with common people like me?" But she didn't understand she just smiled and held my hand Rent a flat above a shop cut your hair and get a job Smoke some fags and play some pool pretend you never went to school But still you'll never get it right `cos when you're laid in bed at night watching roaches climb the wall if you called your Dad he could stop it all Yeah You'll never live like common people you'll never do what common people do you'll never fail like common people you'll never watch your life slide out of view and then dance, and drink, and screw because there's nothing else to do Sing along with the common people sing along and it might just get you through Laugh along with the common people laugh along even though they're laughing at you and the stupid things that you do because you think that poor is cool Like a dog lying in a corner they will bite and never warn you Look out they'll tear your insides out [muffled: I'm sorry, Mr Dalton, there's no need to be concerned] `cos everybody hates a tourist especially one who thinks it's all such a laugh yeah and the chip stain's grease will come out in the bath You will never understand how it feels to live your life with no meaning or control and with nowhere else to go You are amazed that they exist and they burn so bright whilst you can only wonder why Rent a flat above a shop cut your hair and get a job Smoke some fags and play some pool pretend you never went to school But still you'll never get it right `cos when you're laid in bed at night watching roaches climb the wall if you called your Dad he could stop it all You'll never live like common people you'll never do what common people do you'll never fail like common people you'll never watch your life slide out of view and dance, and drink, and screw because there's nothing else to do I want to live with common people like you I want to live with common people like you I want to live with common people like you I want to live with common people like you I want to live with common people like you I want to live with common people like you I want to live with common people like you I want to live with common people like you Aa-aa-ah la la la la... Oh yeah.
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3:42 | ||||
from Pulp - We Love Life (2001)
We came across the North Sea with our carriers on our knees
Wound up in some holding camp somewhere outside Leeds. Because we do not care to fight, my friends - we are the weeds. Because we got no homes they call us smelly refugees. Ah. We are weeds, vegetation, dense undergrowth. Thru' cracks in the pavement: there weeds will grow - the places you don't go. This cut-price dairy produce that turns our bones to dust. You want some entertainment? Go on, shove it up me - if you must. Make believe you're so turned on by planting trees & shrubs But you come round to visit us when you fancy booze 'n' drugs. Ah. We are weeds, vegetation, etc. If you think it's a crime We'd like to get you out of your mind. It's just a matter of time, yeah We'd like to get you out of your mind. Gonna cut you down in your prime, yeah We'd like to get you out of your mind. For a little time: for all time. Weed. |
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4:00 | ||||
from Pulp - We Love Life (2001)
This is the true story of the weeds: the origin of the species.
A story of cultivation, exploitation, civilization. Found flowering on wasteland unnoticed, unofficial, accidental. A cutting was taken but weeds do not thrive under hothouse conditions & wilt when in competition with more exotic strains. A charming naivety, very short flowering season; no sooner has the first blooming begun than decay sets in. Bring your camera, take photo of life on the margins. Offer money in exchange for sex & then get a taxi home. The story has always been the same A source of wonder due to their ability to thrive on poor quality soil offering very little nourishment Drinking 'Nurishment'. But weeds must be kept under strict control or they will destroy everything in their path. Growing wild, then harvested in their prime & passed around at dinner parties. Care for some weed? So natural, so wild, so unrefined & someone's gonna make a fortune one day If only they can market this stuff right. Come on: do your dance. Come on, do your funny little dance. Germination. Plantation. Exploitation. Civilization. A sensational buzz - zzzzzz. Crop rotation. Genetic modification. The creation of expectation. Ultimate frustration. This is the story of the weeds: the origin of the species. |
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4:38 | ||||
from Pulp - We Love Life (2001)
There's a light that shines on everything & everyone.
And it shines so bright - brighter even than the sun. That's what Minnie thinks as she walks to meet her brother, who is nearly two years older, on a Saturday night. He's DJ-ing at some do on the edge of town on the night that Minnie Timperley died. It's such a beautiful world, you're such a beautiful girl. So much that you want to try, the world wants to sleep with you tonight. But Minnie, Minnie if I could I would give you the rest of my life. How can a girl have sex with these pathetic teenage wrecks? Football scarves, the girls drink halves & her brother's crying 'cos he has lost his decks. Outside the air was cool, an older guy sitting in his car asked if Minnie needed a ride. He thought he was still dangerous - paunchy, but dangerous - on the night that Minnie Timperley died. It's such a beautiful world, you're such a beautiful girl. And he only did what he did 'cos you looked like one of his kids. But Minnie, Minnie if I could I would give you the rest of my life. Minnie. Oh, Minnie I can feel the pain. Oh yeah |
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4:49 | ||||
from Pulp - We Love Life (2001)
I took an air-rifle, shot a magpie to the ground & it died without a sound.
Your skin so pale against the fallen Autumn leaves & no-one saw us but the trees. Yeah, the trees, those useless trees produce the air that I am breathing. Yeah, the trees, those useless trees; they never said that you were leaving. I carved your name with a heart just up above - now swollen, distorted, unrecognisable; like our love. The smell of leaf mould & the sweetness of decay are the incense at the funeral procession here, today. In the trees, those useless trees, etc. You try to shape the world to what you want the world to be. Carving your name a thousand times won't bring you back to me. Oh no, no I might as well go & tell it to the trees. Go & tell it to the trees, yeah. |
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8:18 | ||||
from Pulp - We Love Life (2001)
Just behind the station, before you reach the traffic island, a river runs thru' a concrete channel.
I took you there once; I think it was after the Leadmill. The water was dirty & smelt of industrialisation Little mesters coughing their lungs up & globules the colour of tomato ketchup. But it flows. Yeah, it flows. Underneath the city thru' dirty brickwork conduits Connecting white witches on the Moor with pre-raphaelites down in Broomhall. Beneath the old Trebor factory that burnt down in the early seventies. Leaving an antiquated sweet-shop smell & caverns of nougat & caramel. Nougat. Yeah, nougat & caramel. And the river flows on. Yeah, the river flows on beneath pudgy fifteen-year olds addicted to coffee whitener And it finally comes above ground again at Forge Dam: the place where we first met. I went there again for old time's sake Hoping to find the child's toy horse ride that played such a ridiculously tragic tune. It was still there - but none of the kids seemed interested in riding on it. And the cafe was still there too The same press-in plastic letters on the price list & scuffed formica-top tables. I sat as close as possible to the seat where I'd met you that autumn afternoon. And then, after what seemed like hours of thinking about it I finally took your face in my hands & I kissed you for the first time And a feeling like electricity flowed thru' my whole body. And I immediately knew that I'd entered a completely different world. And all the time, in the background, the sound of that ridiculously heartbreaking child's ride outside. At the other end of town the river flows underneath an old railway viaduct I went there with you once - except you were somebody else - And we gazed down at the sludgy brown surface of the water together. Then a passer-by told us that it used to be a local custom to jump off the viaduct into the river When coming home from the pub on a Saturday night. But that this custom had died out when someone jumped Landed too near to the riverbank Had sunk in the mud there & drowned before anyone could reach them. I don't know if he'd just made the whole story up, but there's no way you'd get me to jump off that bridge. No chance. Never in a million years. Yeah, a river flows underneath this city I'd like to go there with you now my pretty & follow it on for miles & miles, below other people's ordinary lives. Occasionally catching a glimpse of the moon, thru' man-hole covers along the route. Yeah, it's dark sometimes but if you hold my hand, I think I know the way. Oh, this is as far as we got last time But if we go just another mile we will surface surrounded by grass & trees & the fly-over that takes the cars to cities. Buds that explode at the slightest touch, nettles that sting - but not too much. I've never been past this point, what lies ahead I really could not say. I used to live just by the river, in a dis-used factory just off the Wicker The river flowed by day after day "One day" I thought, "One day I will follow it" but that day never came I moved away & lost track but tonight I am thinking about making my way back. I may find you there & float on wherever the river may take me. Wherever the river may take me. Wherever the river may take us. Wherever it wants us to go. Wherever it wants us to go. |
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5:32 | ||||
from Pulp - We Love Life (2001)
Here comes your bedtime story: Mum & Dad have sentenced you to life.
Don't think twice; it's the only reason I'm alive. I feel alright as long as I don't forget to breathe. Breathe in, breathe in, breathe out. Look at all these buildings & houses I love my life. I love my life. Hey now, slow down a minute. Take my arms & fill them full of life. Don't think twice. Does it ease the pain of being alive? Or is it why - why you keep nodding out on me? Breathe in, breathe in, breathe out. Another day, another major disaster I love my life. I love my life. You got a problem. I lost my keys when I stayed at your place. On the floor of your living room, you made the scene but it'll never get shown on TV. So tonight prepare to kiss goodbye to my lovelife. So get this right- I love my life; it's the only reason I'm alive. It's mine, all mine - as long as I don't forget to breathe. Breathe in, breathe in, breathe out. Corny I know, but you had better believe it I love my life. I love my life. I love my life. God, how I love my life. That's right: you've got to fight to the death for the right to live your life. Alright: I'm gonna fight to the death 'til they give me back my life. That's right: you're in the land of the living but there's so few signs of life. Alright. Breathe in. Breathe out. Breathe out. |
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4:13 | ||||
from Pulp - We Love Life (2001)
It's six o'clock, the birds are singing.
I'm wide awake whilst you're still fast asleep. I went outside, into your garden. The sun was bright & the air was cool And as I stood there listening Well the birds in your garden they all started singing this song "Take her now. Don't be scared, it's alright. Oh, come on, touch her inside. It's a crime against nature - she's been waiting all night. Come on, hold her, & kiss her & tell her you care If you wait 'til tomorrow she'll no longer be there. Come on & give it to her. You know it's now or never." Yeah, the birds in your garden have all started singing this song. My father never told me about the birds & the bees. And I guess I never realised that I would ever meet birds as beautiful as these. I came inside, climbed to your bedroom. I kissed your eyes awake & then I did what I knew was only natural. And then the birds in your garden, they all started singing this song "Take her now. Don't be scared, it's alright. Oh, come on, touch her inside. It's a crime against nature - she's been waiting all night. Come on, hold her, & kiss her & tell her you care If you wait 'til tomorrow she'll no longer be there. Come on & give it to her. You know it's now or never." Yeah, the birds in your garden have all started singing this song. Yeah, the birds in your garden, they taught me the words to this song |
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4:15 | ||||
from Pulp - We Love Life (2001)
When you think you're treading water, but you're just learning how to drown.
And a song comes on the radio telling you that "The Only Way is Down". You're out of luck, you're out of time, get out of here. Your lover just traded you in for the very same model but a much more recent year. It will not stop, it will get worse from day to day 'til you admit that you're a fuck-up; like the rest of us. Oh, that's the time you fall apart . That's the time the teardrops start & that's the time you fall in love again. Yeah, that's the time you fall in love again. The recreational pursuits that made you shine have worn you thin. And it's oh so fine getting out of your mind as long as you can find your way back in. You want someone to screw your brains out I'd say they're running out of time & they'd only go & cut themselves on the daggers of your mind. This is your future. This is the sentence you must serve 'til you admit that you're a fuck-up like the rest of us. Oh, that's the time you fall apart. That's the time the teardrops start & that's the time you fall in love again. When you've had enough, when you've had too much, when you got knocked down & you never got up. That's the time you fall in love again. Oh, when you walked into the room I could not breathe, I could not speak. Please could I hide myself inside you? As far inside as it's possible to be. Can you assist me? I could not make it on my own. Can I give you all the love I have? It's not much but I'll try & raise a loan. I have no pride left, no, no there is nothing I'm trying to prove No, I am a fuck-up; just the same as you. Oh, I guess this is where I fall apart And I guess this is where the teardrops start but I don't care 'cos I just fell in love again. And I'd had enough - well, far too much I just fell down, could you please help me up? "Cos if you help me maybe I could fall in love again. Na na na. |
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from Pulp - We Love Life (2001)
The word's on the street: you've found someone new.
If he looks nothing like me I'm so happy for you. I heard an old girlfriend has turned to the church - she's trying to replace me, but it'll never work. 'Cos every touch reminds you of just how sweet it could have been And every time he kisses you it leaves behind the bitter taste of saccharine. A bad cover version of love is not the real thing. Bikini-clad girl on the front who invited you in. Such great disappointment when you got him home - the original was so good; the one you no longer own. And every touch reminds you of just how sweet it could have been And every time he kisses you, you get the taste of saccharine. It's not easy to forget me, it's so hard to disconnect When it's electronically reprocessed to give a more life-like effect. Aah, sing your song about all the sad imitations that got it so wrong It's like a later "Tom & Jerry" when the two of them could talk Like the Stones since the Eighties, like the last days of Southfork. Like "Planet of the Apes" on TV, the second side of "'Til the Band Comes in" Like an own-brand box of cornflakes: he's going to let you down my friend. |
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from Pulp - We Love Life (2001)
The feel of my arm around your waist, the pale blue nightdress that you wore.
Your hair in braids, your sailor top: the things I don't see anymore. You lost your suitcase in my hotel room, a subway token from your Ma. The sun reflecting off the water on your face & the way you drove your car. All these things I can't forget tho' I don't see you anymore. Drove to the airport thru' a traffic jam; a deer lay dying in the road. Maybe I should have seen it as some kind of sign, except I don't believe in them no more. No, no - but I believe these things I can't forget, tho' I don't see you anymore. Yes, I believe these things I can't forget, 'cos I see them - tho' I don't see you anymore. |
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from Pulp - We Love Life (2001)
I used to hate the sun because it shone on everything I'd done.
Made me feel that all that I had done was overfill the ashtray of my life. All my achievements in days of yore range from pathetic to piss-poor, But all that's gonna change. Because here comes sunrise. Yeah, here's your sunrise. I used to hide from the sun, tried to live my whole life underground. Why'd you have to rise & ruin all my fun? Just turned over, Closed the curtains on the day. But here comes sunrise. Yeah, here's your sunrise when you've been awake all night long And you feel like crashing out at dawn. But you've been awake all night, so why should you crash out at dawn |
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from Pulp - Disco 2000 [single] (1995)
Well we were born within an hour of each other Our mothers said we could be sister and brother Your name is Deborah De-bor-ah It never suited you And they said that when we grew up we'd get married and never split up Oh we never did it Although I often thought of it Oh Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago You were the first girl at school to get breasts and Martyn said that you were the best Oh, the boys all loved you, but I was a mess I had to watch them try and get you undressed We were friends and that's as far as it went I used to walk you home sometimes but it meant Oh, it meant nothing to you `cause you were so popular Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by thefountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago Do it Oh yeah Oh yeah And now it's all over You've paid your money and you've taken your choice and I know we'll never meet again But Deborah, I just wanted you to know I remember every single thing Oh Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago Oh, what are you doing Sunday, baby? Would you like to come and meet me, maybe? You can even bring your baby Ooh ooh-ooh-ooh-ooh What are you doing Sunday, baby? Would you like to come and meet me, maybe? You can even bring your baby Ooh ooh-ooh-ooh-ooh Ooh ooh-ooh-ooh-ooh ooh.
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from Pulp - Disco 2000 [single] (1995)
Well we were born within an hour of each other Our mothers said we could be sister and brother Your name is Deborah De-bor-ah It never suited you And they said that when we grew up we'd get married and never split up Oh we never did it Although I often thought of it Oh Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago You were the first girl at school to get breasts and Martyn said that you were the best Oh, the boys all loved you, but I was a mess I had to watch them try and get you undressed We were friends and that's as far as it went I used to walk you home sometimes but it meant Oh, it meant nothing to you `cause you were so popular Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by thefountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago Do it Oh yeah Oh yeah And now it's all over You've paid your money and you've taken your choice and I know we'll never meet again But Deborah, I just wanted you to know I remember every single thing Oh Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago Oh, what are you doing Sunday, baby? Would you like to come and meet me, maybe? You can even bring your baby Ooh ooh-ooh-ooh-ooh What are you doing Sunday, baby? Would you like to come and meet me, maybe? You can even bring your baby Ooh ooh-ooh-ooh-ooh Ooh ooh-ooh-ooh-ooh ooh.
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from Pulp - Disco 2000 [single] (1995)
Well we were born within an hour of each other Our mothers said we could be sister and brother Your name is Deborah De-bor-ah It never suited you And they said that when we grew up we'd get married and never split up Oh we never did it Although I often thought of it Oh Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago You were the first girl at school to get breasts and Martyn said that you were the best Oh, the boys all loved you, but I was a mess I had to watch them try and get you undressed We were friends and that's as far as it went I used to walk you home sometimes but it meant Oh, it meant nothing to you `cause you were so popular Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by thefountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago Do it Oh yeah Oh yeah And now it's all over You've paid your money and you've taken your choice and I know we'll never meet again But Deborah, I just wanted you to know I remember every single thing Oh Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago Oh, what are you doing Sunday, baby? Would you like to come and meet me, maybe? You can even bring your baby Ooh ooh-ooh-ooh-ooh What are you doing Sunday, baby? Would you like to come and meet me, maybe? You can even bring your baby Ooh ooh-ooh-ooh-ooh Ooh ooh-ooh-ooh-ooh ooh.
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from Pulp - Disco 2000 [single] (1995)
Well we were born within an hour of each other Our mothers said we could be sister and brother Your name is Deborah De-bor-ah It never suited you And they said that when we grew up we'd get married and never split up Oh we never did it Although I often thought of it Oh Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago You were the first girl at school to get breasts and Martyn said that you were the best Oh, the boys all loved you, but I was a mess I had to watch them try and get you undressed We were friends and that's as far as it went I used to walk you home sometimes but it meant Oh, it meant nothing to you `cause you were so popular Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by thefountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago Do it Oh yeah Oh yeah And now it's all over You've paid your money and you've taken your choice and I know we'll never meet again But Deborah, I just wanted you to know I remember every single thing Oh Deborah do you recall? Your house was very small with wood-chip on the wall When I came round to call you didn't notice me at all and I said: "Let's all meet up in the year 2000 Won't it be strange when we're all fully grown? Be there two o'clock by the fountain down the road." I never knew that you'd get married I would be living down here on my own on that damp and lonely Thursday years ago Oh, what are you doing Sunday, baby? Would you like to come and meet me, maybe? You can even bring your baby Ooh ooh-ooh-ooh-ooh What are you doing Sunday, baby? Would you like to come and meet me, maybe? You can even bring your baby Ooh ooh-ooh-ooh-ooh Ooh ooh-ooh-ooh-ooh ooh.
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from Pulp - The Trees [single] (2001)
I took an air-rifle, shot a magpie to the ground & it died without a sound.
Your skin so pale against the fallen Autumn leaves & no-one saw us but the trees. Yeah, the trees, those useless trees produce the air that I am breathing. Yeah, the trees, those useless trees; they never said that you were leaving. I carved your name with a heart just up above - now swollen, distorted, unrecognisable; like our love. The smell of leaf mould & the sweetness of decay are the incense at the funeral procession here, today. In the trees, those useless trees, etc. You try to shape the world to what you want the world to be. Carving your name a thousand times won't bring you back to me. Oh no, no I might as well go & tell it to the trees. Go & tell it to the trees, yeah. |
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from Pulp - The Trees [single] (2001)
I used to hate the sun because it shone on everything I'd done.
Made me feel that all that I had done was overfill the ashtray of my life. All my achievements in days of yore range from pathetic to piss-poor, But all that's gonna change. Because here comes sunrise. Yeah, here's your sunrise. I used to hide from the sun, tried to live my whole life underground. Why'd you have to rise & ruin all my fun? Just turned over, Closed the curtains on the day. But here comes sunrise. Yeah, here's your sunrise when you've been awake all night long And you feel like crashing out at dawn. But you've been awake all night, so why should you crash out at dawn |
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from Pulp - The Trees [single] (2001)
I took an air-rifle, shot a magpie to the ground & it died without a sound.
Your skin so pale against the fallen Autumn leaves & no-one saw us but the trees. Yeah, the trees, those useless trees produce the air that I am breathing. Yeah, the trees, those useless trees; they never said that you were leaving. I carved your name with a heart just up above - now swollen, distorted, unrecognisable; like our love. The smell of leaf mould & the sweetness of decay are the incense at the funeral procession here, today. In the trees, those useless trees, etc. You try to shape the world to what you want the world to be. Carving your name a thousand times won't bring you back to me. Oh no, no I might as well go & tell it to the trees. Go & tell it to the trees, yeah. |
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from Pulp - Freaks (1986)
As the signs outside proclaimed,
nature sometimes makes mistakes. Was it the mother or the father to blame, inside the damp grass and tilted tent? As the signs outside proclaimed, nature sometimes makes mistakes. Was it the mother or the father to blame, inside the damp grass and tilted tent? Won't you come with me to the fairground? Your head will be spinning, I said your head is your feet. And the man at the side of me starts a lewd laugh (ah ha ha ha ha ha ha ha ha ha!) at the cat with two heads and the dog with eight legs. (ah ha ha ha ha ha ha ha ha ha!) The man has come between us, his cheeks rattle like a fence, (ah ha ha ha ha ha ha ha ha ha!) He's come between us, and he starts a lewd laugh. (ah ha ha ha ha ha ha!) I sought shelter from the storm in a small inn by the coast. In the children's room three identical sisters sat, except for the one who was hideously deformed; her grotesque features seemed to parody her sisters' beauty, ridiculing and mocking everything I held dear. Won't you come with me to the fairground? Your head will be spinning, I said your head is your feet. And the man at the side of me starts a lewd laugh (ah ha ha ha ha ha ha ha ha ha!) at the cat with two heads and the dog with eight legs. (ah ha ha ha ha ha ha ha ha ha!) The man has come between us, his cheeks rattle like a fence, (ah ha ha ha ha ha ha ha ha ha!) He's come between us, and he starts a lewd laugh. (ah ha ha ha ha ha ha!) The fish-eyed foetus floated blankly in the yellowed waters, still as wax. The man came between us, my sister and I, ridiculing and parodying everything we held dear, making a mockery of our former emotions. Dragging it all down to his level. Won't you come with me to the fairground? Your head will be spinning. And the man at the side of me starts a lewd laugh (ah ha ha ha ha ha ha ha ha ha!) at the cat with two heads and the dog with eight legs. (ah ha ha ha ha ha ha ha ha ha!) The man has come between us, his cheeks rattle like a fence, (ah ha ha ha ha ha ha ha ha ha!) He's come between us, and he starts a lewd laugh. (ah ha ha ha ha ha ha!) And then we went for rides. [Jarvis:] Roll up, roll up, nice rides... Come on, spin those cars boys and make the girls scream! The louder you scream the faster we go! Come on, roll up, go on, ladies and gentlemen, boys and girls, for the ride of a lifetime. There's plenty of seats, come on, don't be shy! Roll up, come on, come on! [shreiking and wailing laughter] And then we went for rides. |
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from Pulp - Freaks (1986)
Hey,
you can look, you can look just like anyone else if that's what you want to do. I, I could laugh, I could laugh in your face if I want oh, but I'm not going to. When we met last week on Saturday, I couldn't make a sentence, I couldn't even say what I meant to say: that I want you it doesn't hurt to say I want you, I need you I never thought I'd say I need you, I'll keep you, oh yes I'll keep you and I'll throw myself away, away, away, and I'll break you because I lose myself inside you, I'll make you fit in the space that I provide you, I'll take you, oh yes, I'll take you just to push you far away, away, away. Yes, yes, you're all, yes you're all that I ever desire, still I'll kill you in the end. When, when it seems, when it seems that it's getting too soft, when you lapse into a friend, There's someone just behind the door so don't betray your feelings, no don't talk anymore, never dare to say that I want you it doesn't hurt to say I want you, I need you I never thought I'd say I need you, I'll keep you, oh yes I'll keep you and I'll throw myself away, away, away, and I'll break you because I lose myself inside you, I'll make you fit in the space that I provide you, I'll take you, oh yes, I'll take you just to push you far away, away, away. Now, now we come, now we come to the end of it all, see it squirming, almost dead. No, you can't leave, you can't leave it to die here in pain. You've got to stamp upon it's head. I'll go out and you'll stay home facing up to living, living on your own, and I'll curse my pride, curse my pride, curse my stupid pride because I want you it doesn't hurt to say I want you, I need you I never thought I'd say I need you, I'll keep you, oh yes I'll keep you and I'll throw myself away, away, away, and I'll break you because I lose myself inside you, I'll make you fit in the space that I provide you, I'll take you, oh yes, I'll take you just to push you far away, away, away. |
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from Pulp - Freaks (1986)
I'm being followed home,
I'm being followed home, I don't know what for, I don't know by whom. The smell of your dress, a face in the rain, the pavement shines wet in focus again. Oh... oh... oh... oh. In a dead seaside town I tried to change my mind for a well-balanced view that was not mine to find. Heaven knows, all your stars are on show, they last a lifetime, and your hands leave their marks in the sand, they last for ever, for ever. It's clear to me: you fit so perfectly in a dimly lit room just inside of the sea. His twisted face tells me to leave this place. You know somewhere, but I shouldn't go there, I shouldn't go there. Heaven knows, all your stars are on show, they last a lifetime, and your hands leave their marks in the sand, they last for ever. They've followed me home - the one with the dog-breath in the tattoo bar says something in a language that I don't uderstand. The street stinks of piss and dead fish. Jump a garden wall, landing on the slimy grass, air roaring in my lungs. Hear him swear as he stumbles and falls behind me. Down another cobbled street, footsteps bouncing off the walls. Which way? A bottle smashes. The glint of a blade in the moonlight. Someone laughs, the corners turned... and it's too late. The first blow falls... then nothing. I awoke on the beach sometime later to a grey and sunless sky. Your voice still slithers in my head, I can't remember what you said. I get to my feet, my body aches. I make for the town for no-one's sake. My mind is a blur, I feel so weak, I see your reflection in the street. "It's what you deserve, it's what you need. Just like those stupid books you read." I look to the sky, I see your face, collapse in the road I hear you say I shouldn't go there, I shouldn't go there! My wound's healing now and your imprint fades, now just a pale scar for five vanished days. Your voice is so weak, your face is unclear, your body a legend from a forgotten year. I've been followed home. I've been followed home. I've been followed home. I've been followed home. |
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from Pulp - Freaks (1986)
I am the master of this universe
And I've got so big it hurts Raise your eyes and graze your knees Oh for your master is displeased Because you dared to doubt his word His polished surface dulls and cracks Your bitter laughter breaks his back I am the master of this universe I taught you everything you know Now you must bear your master's curse Oh for I will not let you go Now you must walk this town `til dawn In every public open place Your master's look upon your face Oh now look what you have done You've spoilt it all for everyone The master masturbates alone In a corner of your home You feed him scraps when in the mood You beat him hard and keep him nude You cut your master down to size Now he cries and he cries now Lalalalala lalala... And now he begs both night and day He lets you take him on your knee He keeps on losing consciousness He dearly loves his new mistress Now he repeats it every night Every night on point of death "You are the master of this universe" Now he cries and he cries now "You are the master of the universe You are the master of the universe You are the master of the universe You are the master of the universe!" |
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from Pulp - Freaks (1986)
Life must be so wonderful, living here on your own,
please call around to see. And maybe I've been loving you for too long, and now blind, I watch you bleed. You rot in your bedroom, you cry on the phone. Well I'm sorry but he's not at home. You give me your secrets, you give me your heart and I smile whilst you fall apart. Oh no, please not now, can't you see there's no time? No, I haven't the time. Can't you see there's no time? Oh-oh, oh-oh-oh-oh, oh-oh, oh-oh-oh-oh-oh-oh... Now all our dreams melt in the sun, and visions dwindle one by one by one. Perhaps you should move somewhere far away, to another town where maybe they could see things in your way. It shouldn't be like this, it shouldn't be hard. I smile whilst you fall apart. You're sorry, you're sorry, is all that you say. Well, I'd stop it, but I can't find a way. Your life must be so wonderful, your visions die and fall. And in the end, nothing ends, just grows fainter and farther away. |
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from Pulp - Freaks (1986) | |||||
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from Pulp - Freaks (1986)
Sitting alone on a cold bar stool,
your cold, hard eyes make me feel a fool. Pastel-white features, high cheek-bones, scarlet-blooded lips and deathly tones. The girl of my nightmares, sultry and corpse-like. The girl of my nightmares. Brittle fingers, and thin cigarettes, so hard to tell apart, she hasn't spoken yet. You put your hand on mine, death white on brown, those whirlpool eyes; well, I begin to drown. The girl of my nightmares, erotic and skull-faced. The girl of my nightmares. Anorexic beauty, feather-weight perfection, anorexic beauty, underweight goddess. Sitting alone on a cold bar stool, your so hard to tell apart, she hasn't spoken yet. Pastel-white features, high cheek-bones, scarlet-blooded lips and deathly tones. The girl of my nightmares, sultry and corpse-like. The girl of my nightmares. Anorexic beauty, feather-weight perfection, anorexic beauty, underweight goddess. |