It's out of the question
Between you and me
Is it pleasure or business?
A drink or two or a packet of three
I get up
And I roll over
Tell me why I bother
I've seen enough of her
Now she wants me to feed her and clothe her
You're either talking or yawning
So don't come around too soon
Don't start your morning moaning
Until seven o'clock in the afternoon
Seven o'clock in the afternoon
Seven o'clock in the afternoon
You got me in stitches
Stitch me up this time
From urges to itches
Start to reply this girl of mine
I call up
I get over
Supposed to be a slap-up
Now I wish she'd wrap up
Worrying about her bodily odour
You're either talking or yawning
So don't come around too soon
Don't start your morning moaning
Until seven o'clock in the afternoon
Seven o'clock in the afternoon
Seven o'clock in the afternoon
Seven o'clock in the afternoon
You're either talking or yawning
So don't come around too soon
Either start your morning moaning
Until seven o'clock in the afternoon
Seven o'clock in the afternoon
Seven o'clock in the afternoon
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“The rowdiest but slightest cut on the record, "Luxembourg", had its origins in an R'n'B number, "Seven O'Clock", written for Canvey Island’s finest, Dr. Feelgood. The final draft of the lyrics picked the hapless dukedom as an object of scorn, but only after the original, equally wordy text had been rejected by Dr. Feelgood’s frontman, Lee Brilleaux, after one perusal, with the immortal line: "What’s this then, fucking Shakespeare?"” — Liner notes, Trust (2003 Rhino/Edsel edition)
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Covers
Template:Elvis Costello covers: Seven O'Clock
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