Perfect Skin
Lloyd Cole Lyrics


I choose my friends only far too well
I'm up on the pavement, they're all down in the cellar
With their government grants and my I.Q.
They brought me down to size, academia blues
Louise is a girl, I know her well
She's up on the pavement, yes she's a weather girl
And I'm staying up here so I may be undone
She's inappropriate, but then she's much more fun and
When she smiles my way
My eyes go out in vain
She's got perfect skin
Shame on you, you've got no sense of grace, shame on me
Ah just in case I might come to a conclusion
Other than that which is absolutely necessary
And that's perfect skin
Louise is the girl with the perfect skin
She says turn on the light, otherwise it can't be seen
She's got cheekbones like geometry and eyes like sin
And she's sexually enlightened by cosmopolitan and
When she smiles my way
My eyes go out in vain
For her perfect skin
Yeah that's perfect skin
She takes me down to the basement to look at her slides
Of her family life, pretty weird at times
At the age of ten she looked like greta garbo
And I loved her then, but how was she to know that
When she smiles my way
My eyes go out in vain
She's got perfect skin
Up eight flights of stairs to her basement flat
Pretty confused huh, being shipped around like that
Seems we climbed so high now we're down so low
Strikes me the moral of this song must be there never has been one

Lyrics © BMG Rights Management
Written by: LLOYD COLE

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Most interesting comments from YouTube:

Gregor X

But Ringo and Hal functioned totally differently and it's not fair or really even possible to compare them. Hal certainly tons more adaptable and capable of many different kinds of feels. He was also an educator, the first snare and set books I had were Hal's. But Ringo inspired a couple generations of rock drummers in both the sixties and seventies for a reason. Very solid, very MUSICAL, and 1/4 of what is inarguably the most successful band in the history of the world. That's got to count for quite a bit!

I mean it's hard to compare different styles because the drummer functions totally differently depending on the style. How would you compare Stewart Copeland to Al Jackson? Neil Peart to Charlie Watts? I mean Peart and Copeland are obviously worlds away from them in terms of chops, but do you want to hear Neil Peart play Start Me Up? Could he be a background compliment rather than a standout? That's not better or worse, just different. I believe that Neil Peart had about the same chance of playing Get off of My Cloud as Charlie Watts has of playing La Villa Strangiatto. You could do this all day- do you think Airto Morierra could have laid down Come Together with the same feel as Ringo and made a hit? I'm sure Ringo would totally suck attempting Birdland. I doubt he'd get the high hat correctly at that tempo it's not easy to do consistently for that amount of time. But Ringo on the medley at the end of Abbey Road is absolutely legendary. Who else but Ringo could provide that for that particular song? Insert another great drummer in there and it won't work even close to the same. Tony Williams is the greatest ever to me, when i was fifteen I went to the jazz showcase in Chicago three hours early to pick my seat, which was in arms length of him. Never saw anything like it before or since, it was a totally transformative. Tony Williams chops were just insanely, stupidly ridiculous and he played effortlessly, like he was born with sticks in his hand and drumming was the same as breathing for him. That being said, put Tony Williams on Abbey Road and see if you get a single hit. I say no way.

Do it with any instrument. Switch Glenn Campbell with Santana in their respective bands and think about what you'd get. They're both sound like crap that way.

Put Geddy Lee or Sting in the Allman Brothers. Could they play the notes? Quite obviously they could, and easily. Could they get that same feel on Whipping Post? Melissa? Ramblin' Man? Highly doubtful at best. Would they have the right note to drop, to accent the dueling guitars and double drummers at just the right time? Doubtfully, at best. And it's not a hard bass line at all.

I can play the bass line for Waking on the Moon easily, could do it at 13 now I'm 49, a pro drummer and bassist, but it still doesn't sound like Sting and I've been playing that tune for well over thirty years. Music is more than notes and chops.



Dr. Hannibal Lester

Brings back some wonderful memories, and informs on a big part of history that ought to be remembered.

I remember 1968-69, taking guitar lessons at a low-rent music store, trying to learn some of these hit songs from the simplified sheet music (chord progressions on standard notation that basically just mimicked the vocals). A year later, with a slightly better guitar, I decided I had enough and tried learning some of those songs by ear, off the record.

Dumb move. I was a 13 year old with a year's experience trying to copy Tedesco, Campbell, and Kaye--not to mention Hendrix, Page, and Santana.

Did okay, I guess.

But to everyone here who didn't grow up in the late 1950's and 60's, it takes rare, God-given talent to create the incredible music that came out of that era--and these people were apparently born with it.



All comments from YouTube:

Wrecking Crew

Just looking at some of the comments and want to thank everyone for their support of the documentary as well as these fantastic musicians. If anyone is interested in seeing more, they should grab the DVD which has 6 more hours of bonus material from interviews that never made it to the film. It took 19 years to make and we never stopped filming. Interviews from; Leon Russell, Jackie Deshannon, Marylyn McCoo and Billy Davis Jr, Richard Carpenter, Petula Clark, many of the other musicians, engineers and producers. If you go to the wreckingcrewfilm.com website and use the code word; OUTTAKE you'll get a discount on the dvds, cds, books and other items.

James Richardson

@Paul Richardson This documentary was interesting and educational for me. I learned things about the music business, and the music making machines that made those great hits.

Paul Richardson

Thank you for this documentary. It was a very educational trip down memory lane. It's great to hear the music from my early youth again and hear some of the stories behind the sounds I'll never forget.

James Richardson

@JSR Roadrash This been happening since the music industry has used session musicians. They were payed very little and never got credit or glory. I think time they were all trying make living and food on the table and etc. Later Session Musicians got credit on albums, it nature the business. They couldn't piss off record companies or they wouldn't be able to work.

JSR Roadrash

I recently recovered a radio station that plays so many of these classes songs. It's great to see the musicians that made these songs so popular. It's a shame they were never given any credit on the songs.

James Richardson

@david rosen You should watch the documentary " Respect Yourself The Stax Records Story" and Stand in the Shadows of Motown. I own these films and Muscle Shoal The Incredible True Story of A small Town With A Big Sound.

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StraightJackets StraightJackets

1) How cool is this doc? (Cool as hell!)
2) How cool is it that a son honors his father like this? (See #1)
3) How cool is it that the movie maker communicates to the viewers in the comments on YouTube? (Even cooler!!!)

Thanks, Denny, for all of the above (from a mediocre guitar player that honors the greats like your Dad!)

Srikanth Karre

Try&r rt

Pendejo

I also never get enough of this documentary. I always recommend it to anybody who loves music history. It changed my life. It changed my understanding of music and pop culture. It shocked me how TWC was responsible for SO DAMN MUCH MUSIC! I am happy that they finally got their due recognition.

imasonof adeadbeat

@John Johnon Instead of breaking strings do you break wind?

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