Well, I cannot be your lover and I will not be your friend
Well, I know you say you need me but I have no time to spend
We could talk like this for hours, I'd just end up getting bored
'Cause no one needs a dealer just a day before a score
Let me in, let me in
Let me in, sweet darling, let me in, let me in
Let me in, let me in
Let me in, sweet darling, let me in, let me in
Do you think that you could leave me?
Could you leave and go away just for a little while?
Do you think that I could leave you?
Could I leave and go away just for a change of style?
Well, the children ?up there? dig my shit so I sell it to them cheap
Better bring the scales and check the deal, getting scared that I might cheat
Well, you're just a speck of polish on the fat man's shiny shoes
And I think I hate them for it and I think they hate me too
Well, you spend your whole life moaning down the telephone for bread
Can't get your sleep for trying, darling, remember what you said
You come around most any time, sell me ?what you can?
What you see is what you get, catch me if you can
John Martyn, born Iain David McGeachy (1948-2009), was a Scottish singer-songwriter and guitarist considered one of the pioneers of British folk rock. His music, characterized by a deep voice and evocative melodies, incorporated elements of jazz, blues, and world music. Martyn began his career in the 1960s, releasing albums such as "Solid Air" (1973) and "Bless the Weather" (1974), which achieved critical and commercial success. He is known for his collaborations with artists like Beverley Knight and Van Morrison. Among his most representative songs are "May You Never", "Over the Hill", and "Small Hours". His influence on British folk rock has been profound, inspiring generations of musicians.
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