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STUDIO ALBUM

THE FINAL CUT

The Postwar Dream
Your Possible Pasts
The Hero's Return
Gunner's Dream
Paranoid Eyes
Get Your Filthy Hands Off My Desert
The Fletcher Memorial Home
Southampton Dock
The Final Cut
Not Now John
Two Suns In The Sunset

DAVID GILMOUR - Voice and Guitar

ROGER WATERS - Voice and Bass.

NICK MASON - Drums and Percussion

PRODUCER - Roger Waters, Michael Kamen and James Guthrie

ENGINEER - James Guthrie and Andy Jackson

STUDIOS - Abbey Road, Billiard Room, Eel Pie Studios, Hookend Studios, Mayfar Studios, Olympic Studios and RAK Studios

Posted on March 21, 1983

THE POST WAR DREAM (Waters)

Tell me true, tell me why,

was jesus crucified

Is it for this that Daddy died?

Was it for you? Was it me?

Did I watch too much TV?

Is that a hint of accusation

in your eyes?

If it wasn't for the nips

Being so good at building ships

The yards would still be open on the clyde.

And it can't be much fun for them

Beneath the rising sun

With all their kids committing suicide.

What have we done, Maggie what have we done?

What have we done to England?

Should we shout, should we scream

"What happened to the postwar dream?"

Oh Maggie, Maggie what have we done?

Tell me the truth,

tell me why was Jesus crucified.

Is this why daddy died?

Was it for you? Was it for me?

Did I watch too much TV?

Is it a shadow of accusation

What do I see in your eyes?

If it weren't for the Japanese,

that they are so good at building ships

Dockyards would still be open on the Clyde

and that can't

have a lot of fun,

With all their children committing suicide

What have we done, Maggie, what have we done?

What have we done to England?

Should we scream?, should we scream?

"What happened to the postwar dream?"

oh Maggie, Maggie what have we done?

YOUR POSSIBLE PASTS (Waters)

They flutter behind you your possible pasts,

Some bright-eyed and crazy,

some frightened and lost.

A warning to anyone still in command

Of their possible future,

to take care.

In derelict sidings

the poppies entwine

With cattle trucks lying in wait for

the next time.

Do you remember me? How we used to be?

Do you think we should be closer?

She stood in the doorway,

the ghost of a smile

Haunting her face like a cheap

hotel sign.

Her cold eyes imploring the men in their macs

For the gold in their bags or the knives

in their backs.

Stepping up boldly one put

out his hand.

He said, "I was just a child then,

Now I'm only a man."

Do you remember me? How we used to be?

Do you think we should be closer?

By the cold and religious we were taken in hand

Show how to feel good

and told to feel bad.

Tongue tied and terrified we

learned how to pray

Now our feelings run

deep and cold as the clay.

And strung out behind us

the banners and flags

Of our possible pasts lie in tatters

and rags.

Do you remember me? How we used to be?

Do you think we should be closer?.

Your possible pasts flutter behind you

Some with illuminated and crazy eyes,

others scared and lost.

A warning to be careful

Whoever's still in command

Of your possible future

In abandoned sidings

poppies intertwine

With cattle trucks waiting

the next time.

Do you remember me? How we were?

Do you think we should be closer?

She was standing at the door with

the ghost of a smile

Hovering over his face like a sign

cheap hotel

And her cold eyes imploring men their raincoats

For the gold in their bags or the knives

on their backs.

Approaching boldly one extended

his hand.

And said, "I was just a boy then,

Now I'm just a man"

Do you remember me? How we were?

Do you think we should be closer?

By the cold and religious we were held by the hand,

They taught us how to feel good

and they ordered us to feel bad.

With tongues tied and terrified

we learned to pray

Now our feelings turn

deep and cold as clay

And scattered behind us,

banners and flags

Of our possible pasts

they find tattered and rags.

Do you remember me? How we were?

Do you think we should be closer?

ONE OF THE FEW (Waters)

When you're one of the few to land on your feet

What do you do to make ends meet?

Teach.

Make them mad, make them sad, make them add two and two.

Make them me

make them you, make them do what you want them to.

Make them laugh, make them cry,

make them lie down and die.

When you're one of the few to land on your feet

What do you do to connect the dots?

teach,

make them crazy, make them sad, make them add two and two

Turn them into me

turn them into you, make them do what you want them to do.

Make them laugh, make them cry

make them lie down and die.

THE HERO´S RETURN (Waters)

Jesus, Jesus, what's it all about?

Trying to clout these little

ingrates into shape.

When I was their age all

the lights went out.

There was no time to whine

or mope about.

And even now part of me flies over

Dresden at angels one five.

Though they'll never fathom it begin my

sarcasm desperate

memories lie.

Sweetheart sweetheart are you

fast asleep? Good.

Cos that's the only time that I can

really talk to you.

And there is something that I've locked away

A memory that is too painful

To endure the light of day.

When we came back from the war

the banners and flags

hung on everyone's door.

We danced and we sang in the street and

The church bells rang.

but burning in my heart

My memory smolders on

Of the gunners dying words

on the intercom.

Jesus, Jesus, what is all this?

Trying to straighten these little ones out

ungrateful to smacks

When I was your age, all

the lights went out

There was no time to whine

or walk around downcast.

And even now part of me flies over

since in "Angels 1.5"

And though they can never fathom it,

behind my sarcasm lie

desperate memories.

Baby, baby, are you

fast asleep?, very good,

because they are the only moments

how can i really talk to you

And there is something that I have closed

locked up so that

can withstand daylight.

When we come back from the war

banners and flags

They hung on every door.

We dance and sing in the streets and

The church bells pealed.

But, burning in my heart,

Keep the memory alive in my ember

of the gunner's last words

over the intercom.

THE GUNNERS DREAM (Waters)

Floating down through the clouds

Memories come rushing up to meet me now.

In the space between the heavens

and in the corner of some foreign field

I had a dream.

Good-bye Max.

After the serng

slowly to the car

And the silver in her hair shines in the cold November air

You hear the tolling bell

And touch the silk in your lapel

And as the tear drops rise

to meet the comfort of the band

You take her friar hand

And hold on to the dream.

A place to stay

enough to eat

Somewhere old heroes shuffle

safely down the street

where you can speak out loud

About your doubts and fears

And what's more no-one ever disappears

You never hear their standard issue kicking in your door.

You can relax on both sides

of the tracks

And maniacs don't blow holes in bandsmen

by remote control

And everyone has recourse to the law

And no-one kills the children anymore.

And no one kills the children anymore.

night after night

Going round and round

my brain

His dream is driving me insane.

In the corner of some foreign field

The gunner sleeps tonight.

What's done is done.

We can't just write off

his final scene.

Take heed of his dream.

Take heed.

floating through the clouds

Memories rush down to me

In space, between the skies

and in the corner of some foreign field

I had a dream

bye max

After the service, when you are walking

slowly towards the car

and the silver of her hair shines in the cold

november air

You hear the bell toll

And you feel the silk of your lapel

And while the teardrops rise

to meet the comfort of the band

You take her fragile hand

And you cling to the dream

a place to be

enough to eat

Somewhere old heroes crawl

safe down the street

where you can speak out loud

Of your doubts and fears

And what's more, no one ever disappears

You never hear their standard edition kicking at your door

You can relax on both sides

of the recording

And maniacs don't bore the gang men

by remote control

And everyone has access to the law

And no one kills children anymore

And no one kills children anymore.

Night after night

Going round and round

to my brain

A dream is driving me crazy.

In the corner of some foreign field

The artilleryman sleeps tonight.

What done is done.

We can't just describe

his final scene.

Be careful with your sleep.

Be careful.

PARANOID EYES (Waters)

Button your lip. Don't let the shield slip.

Take a fresh grip on your bullet proof mask.

And if they try to break down your disguise with their questions

You can hide, hide, hide,

Behind paranoid eyes.

You put on our brave face and slip over the road for a jar.

Fixing your grin as you casually

read on the bar,

Laughing too loud at the rest of the world

With the boys in the crowd

You hide, hide, hide,

Behind petrified eyes.

You believed in their stories of fame,

fortune and glory.

Now you're lost in a haze of alcohol soft middle age

The foot in the sky turned out to be miles too high.

And you hide, hide, hide,

Behind brown and mild eyes.

Shut up, don't let the shield slip.

Get a good grip on your bulletproof mask.

And if they try to tear down your disguise

with questions

You can hide hide hide

Behind paranoid eyes.

You put on your brave face and cross the street for a pitcher.

Fixing your wide smile as you lean haphazardly on the bar

Laughing too loud at the rest of the world

With the boys in the crowd

you hide you hide you hide

Behind petrified eyes.

You believed their fame stories,

fortune and glory.

Now you're lost in a haze of alcohol in your tender middle age.

The pie in the sky turned out to be miles and miles up

And you hide hide hide

behind gentle brown eyes.

GET YOUR FILTHY HANDS OFF MY DESERT (Waters)

Brezhnev took Afghanistan.

Begin took Beirut.

Galtieri took the Union Jack.

And Maggie, over lunch one day,

Took a cruiser with all hands.

Apparently, to make him give it back.

Brezhnev took Afghanistan

Begin took Beirut

Galtieri took the flag of the United Kingdom

and Maggie one day, after lunch

he caught a cruiser with all his men

evidently he will make him return it.

THE FLETCHER MEMORIAL HOME (Waters)

Take all your overgrown infants away somewhere

And build them a home, a little place

of their own.

The Fletcher Memorial

Home for Incurable Tyrants and Kings.

And they can appear to

themselves every day

On closed-circuit TV

To make sure they're still real.

It's the only connection they feel.

"Ladies and gentlemen, please

welcome, Reagan and Haig,

Mr. Begin and friend, Mrs. Thatcher, and Paisly,

Hello Maggie!

Mr. Brezhnev and party.

The ghost of McCarthy,

The memories of Nixon.

"Good-bye!"

And now, adding color, a group of anonymous

Latin-American Meat packing glitterati.

Did they expect us to treat

them with any respect?

can polish their medals and sharpen their smiles,

And amuse themselves playing games

for awhile.

Boom boom, bang bang, lie down you're dead.

Safe in the permanent gaze of a

cold glass eye With their favorite toys

They'll be good girls and boys

In the Fletcher Memorial Home for colonial

Wasters of life and limb.

Is everyone in?

Are you having a nice time?

Now the final solution can be applied.

Take all your overdeveloped children somewhere far away

And build a home, a little corner that is only yours

The Fletcher Memorial Home

For incurable tyrants and kings.

And there they can appear

before themselves every day

On closed circuit television.

To make sure they are still real.

It's the only connection they feel.

"Ladies and gentlemen, please welcome Reagan and Haig

Mr Begin and friends, Mrs Thacher and Paisley,

"Hello, Maggie"

To Mr. Brezhnev and company

to McCarthy's ghost

Nixon's memoirs.

"Bye bye"

and now, to add color, to a group of anonymous magnates

Latin Americans of canned meat.

Did they expect me to treat them?

with any respect?

They can polish their medals and accentuate their smiles,

and have fun playing games

for a time

Boom, boom, bang, bang, fall to the ground, you're dead.

Safe under the constant gaze of a

cold glass eye

with their favorite toys

They will be good girls and good boys

At the Fletcher Memorial Home for

colonial exploiters of lives and bodies.

Is everyone inside?

You are having a good time?

Now the final solution can be applied.

SOUTHAMPTON DOCK (Waters)

They disembarked in 45

And no-one spoke and no-one smiled

There were to many spaces in the line.

Gathered at the cenotaph

All agreed with the hand on heart

To sheath the sacrificial Knives.

but now

She stands upon

southampton dock

With her handkerchief

And her summer frock clings

To her wet body in the rain.

In quiet desperation knuckles

White upon the slippery reins

She bravely waves the

boys Goodbye again.

And still the dark stain spreads between

His shoulder blades.

A mute reminder of the poppy

fields and graves.

And when the fight was over

We spent what they had made.

But in the bottom of our hearts

We felt the final cut.

They disembarked in 45

And no one spoke or smiled

There were too many spaces on the line

Gathered at the cenotaph

They all agreed with their hands on their hearts.

Sheathe the sacrificial knives

But now

She is standing on

southampton pier

with his handkerchief

and a summer dress

It clings to her wet body in the rain.

In silent despair; with the knuckles

White on the slippery reins

She bravely waves goodbye

the boys one more time.

And the dark boat keeps spreading

between his shoulder blades

A world reminding of the fields

of poppies and graves.

And when the fight was over

We spent what they had made

But deep down in our hearts

We feel the final cut.

THE FINAL CUT (Waters)

Through the fish-eyed lens of

tear stained eyes

I can barely define the shape

of this moment in time

And far from flying high in clear blue skies

I'm spiraling down to the hole in the ground where I hide.

If you negotiate the minefield

in the drive

And beat the dogs and cheat the cold electronic eyes

And if you make it past the

shotgun in the hall,

Dial the combination,

open the *priesthole

And if I'm in I'll tell you what's

behind the wall.

There's a kid who had

a big hallucination

Making love to girls in magazines.

He wonders if you're sleeping with your new found faith.

Could anybody love him?

Or is it just a crazy dream?

And if I show you my dark side

Will you still hold me tonight?

And if I open my heart to you

And show you my weak side

What would you do?

Would you sell your story to Rolling Stone?

Would you take the children away

And leave me alone?

And smile in reassurance

As you whisper down the phone?

Would you send me packing?

Or would you take me home?

Thought I oughta bare

my naked feelings,

Thought I ought to tear the curtain down.

I held the blade in trembling hands

Prepared to make it but just then

the phone range

I never had the nerve

to make the final cut.

Through the fisheye lenses of

eyes bathed in tears

I can barely define the shape

from this moment in time

And far from flying high in skies clear and blue

I'm spiraling down to the hole in the ground where I hide.

If you manage to avoid the mines scattered on the entrance path

And you beat the dogs and fool the cold electronic eyes

And you come out unscathed from the shotgun that

menace in the hall

You mark the combination,

open the *secret stash

And if I'm inside, I'll tell you what's up

behind the wall.

There is a boy who had

a great hallucination

Making love to girls from magazines

Wondering if you're sleeping with your new found faith

could anyone love him?

Or is it nothing more than a fanciful dream?

And if I show you my dark side

Will you still hold me tonight?

And if I open my heart to you

And I show you my weak side

What would you do?

Would you sell your story to Rolling Stone?

Would you take the children away

And would you leave me alone?

And you would smile reassuringly

While you whisper on the phone?

Would you send me to hell?

Or would you take me home?

i thought i should have

my bare feelings

I thought I should pull down the curtain.

I held the blade with trembling hands

Willing to but right then

The telephone rang

I never had enough nerve

to make the final cut.

NOT NOW JOHN (Waters)

Fuck all that we've got to

get on with these

Gotta compete with

the wily Japanese.

There's too many home fires burning

And not enough trees.

So fuck all that

We've gone to get on with these.

Can't stop

lost job

mind gone

silicone

what bomb

Get away

pay day

Make there

break down

Need fix

big six

clickity click

Hold on

Oh no

Brrrrrrrrring bingo!

Make 'em laugh.

Make 'em cry.

Make 'em dance in the aisles.

Make 'em pay.

Make 'em stay.

Make'em feel ok.

Not nah John

We've got to get on with the film show.

Hollywood waits at the end of the rainbow.

Who cares what it's about

As long as the kids go?

not now john

Got to get on with the show.

Hang on John we've got to get on with this.

I don't know what it is

But it fits on here like.....

Come at the end of the shift

We'll go and get pissed off.

But now now John

I've got to get on with this.

Hold on John

I think there's something good on.

I used to read books but.....

It could be the news

Or some other abuse

Or it could be reusable shows.

Fuck all that we've got

to get on with these

Got to compete

with the wily Japanese.

No need to worry

about the Vietnamese.

Got to bring the Russian Bear to his knees.

Well, maybe not the Russian Bear

Maybe the Swedes.

We showed Argentina

Now let's go and show these.

Make us feel tough

And wouldn't Maggie be pleased?

Nah nah nah nah nah nah nah!

"s'cusi dove the bar

(Que?)

se para collo pou eine toe bar?

s'il vous plait ou est le bar?

oi, where's the fucking bar john?

Fuck all that

we have to get on with these

we have to compete with

the cunning japanese

There are too many homes burning

And not enough trees

So fuck all of that.

We have to get on with these.

I can not stop

I lose job,

the mind gone,

silicone

what a bomb

escape

payday,

make hay

collapse

needs fix,

big six

clickity click

wait,

Oh no

brrrrbingo!

make them laugh,

make them cry,

make them dance in the aisles

make them pay,

make them stay

make them feel good.

not now john

We have to go ahead with the projection

Hollywwod waits for the end of the rainbow

Who cares what it's about

As long as the boys go?

not now john

We have to get on with the show.

wait, john

We have to get on with this

I do not know that it is

But it fits here as......

Come when the shift is over

And we'll go mess ourselves up.

But not now, John.

I have to get on with this.

wait, john

I think they put something good

I used to read books but......

maybe it's the news

Or some other insult

Or maybe it is a reusable program

To hell with all that

we have to get on with these

we have to compete with

the cunning japanese

There's no need to

worry about the vietnamese.

We must subdue the Russian bear

Well, maybe the Swedes;

We have taught Argentina

Now let us go and teach these

to put us in a bad mood

And wouldn't Maggie be delighted?

na na na na na!

S'cusi, dove il bar?

(where?)

se para collo pou eine toe bar?

s'il vous plait, ou est le bar?

Hey, where's that bloody bar, John?

TWO SUNS IN THE SUNSET (Waters)

In my rear view mirror the sun

is going down

Sinking behind bridges in the road

And I think of all the good things

That we have left undone

And I suffer premonitions

Confirm suspicions

Of the holocaust to come.

The wire that holds the cork

That keeps the anger in

Give way

And suddenly it's day again.

The sun is in the east

Even though the day is done.

Two suns in the sunset

hmmmmmmmm

Could be the human race is run.

Like the moment when the

brake lock

And you slide towards the big truck

(Oh no! )

You stretch the frozen moments

with your fear.

And you'll never hear their voices

And you'll never see their faces

You have no recourse to the law anymore.

And as the windshield melts

My tears evaporate

Leaving only

charcoal to defend.

Finally I understand the feelings of the few.

ashes and diamonds

foe and friend

We were all equal in the end.