Tonart: A major
Verse 1
You all right?
Okay. I'll go, I'll go.
So, Sunday night in my house
was bath night.
Not that we only had one bath a week,
but that's what it felt like.
And I had two older brothers.
I've still got two older brothers.
And I was the last in the water.
So, you don't hear that much
anymore, actually.
You do, leave the water and kill.
My kids are down to about three fucking
C
G
showers a day.
Anyway, my brothers used to run
this wide extension lead
from the kitchen
through the little corridor
past the airing cupboard
and into the little bathroom
G
which was about 12 foot by 5 foot
and at the end of that
extension lead
Ab
G
they would connect what I like to call
a silver Toshiba ghetto blaster
and this ghetto blaster
would play all the best tapes of the day
from people like Dire Straits
and there's no fucking East 17 there
and there never fucking will be either
This was 1980 fucking two,
not paying attention.
So they'd be playing stuff by Bob Dylan,
Neil Young, Bob Seger, The Eagles,
and I'd be standing outside
this door listening
and I was always a bit confused
what the fuck Don Henley was talking about
in Life and the Vaseline
because I was convinced he
was saying
Life and the Vaseline
and the only time I'd ever
seen a pot of Vaseline
was in the football dressing room
when I was rubbing it on my fucking boots
and so they'd leave
and when they did leave
they took the ghetto blaster
and the cassettes with them.
So I'd go in the bath
with my Jaws shark toy
and this was my first memory
of making up melodies
and making up songs
and making up words
sitting in the bath water.
F
Probably because those bastards
but that's what my first memory
of making up songs was and I was probably about
eight or nine or something
Ab
and obviously later on
I went on to write lots of songs
G
I think we've written over 160
songs
over the 12 -13 records we've made
C
and and you know mu sic
has got me
through the worst of my times
G
and when I write the songs they for me
and they genuinely what I'm feeling
and what I want to get out of myself
and and then they become songs for you
and songs for people and music gets
us all through stuff
and tonight is a collection of those
songs over the last 25 years
and we're gonna start with
one from an album
that's 20 years old this year
Csus2
C
Csus2
Verse 2
G
Well to work together right in the rain
Buy a ticket they can
check we can claim
Csus2
So we don't spend what's our own
Verse 3
G
For a seat a place to stop
a green light around
Cross run around naked
doing other things
Csus2
Like the ones before
G
For a break so you can take
a little something out
And make your next break
Come a little quicker
Csus2
than the ones before
G
For an answer, spy a sweet dancer
As she walks through the
door of the hall
Csus2
D
Wish you waited for your wedding vows
G
D
What's one waiting for?
G
Csus2
G
What's one waiting for?
Wait to get on the car, start some car,
start to make our first move
Magazines made the rules
Csus2
to make us lose
G
Before you dream in a house,
you could both plan the car and the sails
And wet dream with a man
Csus2
D
you wish you had
G
what's one waiting for?
D
C
It's a hurry of a way
G
What's worth waiting for?
Watched fire never burn
Sugar second to dissolve
Feel your appetite on lost foods
F
C
Relevance lost inside
G
We went around for anyone to tell us
F
C
what we even got there for
D
C
To hurry up and wait,
what's one waiting for
G
D
C
To hurry up and wait,
what's one waiting
G
C
What's for?
G
C
What's one waiting for?
G
C
What's one waiting for?
G
What's worth waiting for
C
G
What's worth waiting for
C
G
So join the queue,
me and you, wait in line,
C
takes the time to be satisfied.
C
home.
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