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4:10 | 
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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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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. |
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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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from Pulp - Different Class / Second Class (1996)
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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4:05 |
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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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3:43 |
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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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from Pulp - Different Class / Second Class (1996)
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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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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6:40 |
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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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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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7:37 |
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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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6:18 |
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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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from Pulp - Different Class / Second Class (1996)
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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7:01 |
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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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9:49 |
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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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from Pulp - Different Class / Second Class (1996)
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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4:34 |
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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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from Pulp - Different Class / Second Class (1996)
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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4:23 |
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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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3:09 |
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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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from Pulp - Freaks (1986)
There's not much time for talking,
all your friends are going to walk away. If there was time for talking all too soon you'd be lost for things to say. Don't you know she could break you, every bone that's inside of you? Then again she might make you everything that you want her to, and if you could walk away, where would you go anyway? And if you've still got the chance, I know you know you'll stay, stay. I don't need your excuses; are you tired of trying to stay on top? so just lie back and enjoy it and save your tears for when the kissing stops oh, you know it's got to stop. Don't you know she could break you, every bone that's inside of you? Then again she might make you everything that you want her to, and if you could walk away, where would you go anyway? And if you've still got the chance, I know you know you'll stay, stay. Oh, you'll stay, oh, you'll stay. Don't you know she could break you, every bone that's inside of you? Then again she might make you everything that you want her to, and if you could walk away, where would you go anyway? And if you've still got the chance, I know you know you'll stay, stay. Oh, you'll stay, oh, you'll stay. Oh, you'll stay, oh, you'll stay, oh, you'll stay, oh, you'll stay, oh, you'll stay. |
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from Pulp - Different Class / Second Class (1996)
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 stuffed in a slightly different order each day. Just like a modern shopping centre. And it's so cold - yeah it's so cold. 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 they make me have to sit down and catch my breath. It's so cold yeah, it's so cold. What is this feeling called love. Why me, why you, why here, why now ooh. 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. Oh. What is this feeling called love. Why me. Why you. Why here. And why now ooh. 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. Ooh. |
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6:01 |
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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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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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3:36 |
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4:58 |
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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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4:11 |
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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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6:18 |
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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 |
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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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from Pulp - Different Class / Second Class (1996)
I spy a boy, I spy a girl.
I spy the worst place in the world, in the whole 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 a walks among you seeing through your pretty 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 And I'm biding my time until I take you all on my Lords and Ladies I will prevail, I cannot fail. Cause I spy. Oh I've got your numbers taken notes and all the ways your minds work out. I've studied and your mind's just the same as mine except that you're just clever swines You never let masks slip, you never admit to it, you're never hurried. Oh no no no. And every night I hold my plan how I'll get my satisfaction How I will blow your paradise away away away ooh. Cause I spy. It's just like in the old days - I used to compose my own critical notices in my head. The crowd gasps 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 felt a girl's breasts, the whole 'nana. 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 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 park's a car park, grass is something you smoke, birds is something you shag. Take your year in Provence and shove it right up your arse. Your Ladbroke Grove looks turn me on, yeah. With your frightened eyes and roach burns under your eyes and addresses And thousands of tiny dryna-slides running a path, running a path to the corner 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, cause I spy, yes, I spy, ssss. 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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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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3:28 |
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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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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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3:34 |
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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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3:30 |
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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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from Pulp - Different Class / Second Class (1996)
She doesn't have to go to work but she doesn't want to stay in bed
Cause 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 Mind you 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 yeah. The neighbours didn't dare complain and 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 7 years ago. La la la la la la la [etc] 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 doesn't want to stay in bed 'cause it's changed from something wonderful to something else instead. |
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from Pulp - Different Class / Second Class (1996)
She doesn't have to go to work but she doesn't want to stay in bed
Cause 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 Mind you 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 yeah. The neighbours didn't dare complain and 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 7 years ago. La la la la la la la [etc] 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 doesn't want to stay in bed 'cause it's changed from something wonderful to something else instead. |
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3:55 |
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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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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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4:32 |
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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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from Pulp - Different Class / Second Class (1996)
We didn't have no where to live,
We didn't have no where 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 mabey shoot somebody if they lose at pool. ( ) Ooh, it's a mess alright, Yes it's Mile End. [mumbled mutterings....] Oo-Ooh Nobody wants to be your friend 'cause your 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 cow 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. [mumbles mutterings] Bababa... Lalala |
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3:47 |
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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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from Pulp - Different Class / Second Class (1996)
Mis shapes
mistakes misfits raised on a diet of broken biscuits oh we Don't look at the same as You we don't do the things you do but we live round here too oh Really mis shapes mistakes Misfits we'd like to go to town but we can't risk it oh cause they Just want to keep us out you Could end up with a smash 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 a 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 u it's 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 u that's our minds check your Lucky numbers that much Money could drag under oh what's the point of being rich if you can't Think what do to with it cause 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 too 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 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 uthat'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 a 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 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 uthat's our minds And that's our minds yeah |
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4:17 |
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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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from Pulp - Different Class / Second Class (1996)
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 [etc] and I want a refund, I want a light I want a reason to make it thru 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 me - 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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from Pulp - Different Class / Second Class (1996)
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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3:16 |
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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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3:35 |
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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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3:11 |
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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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from Pulp - Different Class / Second Class (1996)
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 mother once 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 yeah. 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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4:48 |
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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 |
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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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from Pulp - Different Class / Second Class (1996)
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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5:49 |
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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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4:19 |
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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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3:19 |
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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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from Pulp - Different Class / Second Class (1996)
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?" 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 |
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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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from Pulp - Different Class / Second Class (1996)
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 'cause we're all sorted out for E's and wizz. And tell me when the spaceship lands 'cause all this has just got to mean something. In the middle of the night, It feels alright, But then tomorrow 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 'cause 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 tomorrow 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 want to 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, 'cause 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 tomorrow morning. Oh then you come down. What if you never come down? |
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3:27 |
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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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5:55 |
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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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from Pulp - Different Class / Second Class (1996)
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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4:59 |
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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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2:37 |
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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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from Pulp - Freaks (1986)
When all should be done and gone,
he comes round again to see, he can't keep himself away. He touches her hand and it starts again. His work is an ugly mess. He prods and it cries in pain. He kicks and it starts to scream. He hurries away when she cannot see. When all should be done and gone, he comes round again to see, he can't keep himself away. he touches her hand and it starts again. Moving so slowly, droplets of kindness that poison and choke when this thing should have died long ago. The entrails are soft and warm, this time it must be the end. One touch and it lives again. He keeps it alive to be part of its pain and that's mercy. And that's compassion. And that's being good friends in a crisis. What's one corpse between friends? Oh oh-oh-oh... Leave it, boy. Just leave it alone. Stop scratching, or it'll never heal. Just let it lie in peace. Get out of the way, get out of the way, the brakes cannot last for long. He knows he must let it go, he knows but he keeps a hold. He touches her hand and it starts again. Ah! Ah! Ah! Moving so slowly, he drops it so gently, urging its life to a peak to torment it again! |
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from Pulp - Freaks (1986)
His body loved her
his mind was set on other things Keep your face out of sight and your thoughts to yourself And this went on for several nights festering in silence, growing in the dark and this they saw as love Love So sad to see They suffocate at night Oh this they saw as love Love So sad to see to see it slowly die She met his wishes he found that he had changed his mind Now the fit is too tight and the bedroom too warm The days are filled with things to do Night-time lies so hollow and memories betray Oh memories of love Love So sad to see They suffocate at night Those memories of love Love So sad to see to see it slowly die Two years have passed two years of emptiness inside and the grey skies above just show how far I went wrong I wonder if she's living there the way that I recall the way I'll always think of you And when I think of you I think of love Love So sad to see They suffocate at night You know I think of love Love So sad to see to see it slowly die I wrote you a letter I threw it away I wrote you a letter I threw it away I need her I know I don't need her I need her Oh Oh-oh |
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4:06 |
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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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from Pulp - Different Class / Second Class (1996)
Why don't you close the door and shut 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 much too near. How the hell did you get here. Semi-naked in someone 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 much too near and 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. Har. |
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3:03 |
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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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3:50 |
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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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4:47 |
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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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5:20 |
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3:43 |
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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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4:39 |
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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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| from Pulp - Different Class / Second Class (1996) | |||||
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