seating plan

[Verse 1]
I used to hide the stories written in my skin,
pulled my sleeves down like a curtain where I’d been.
Every crack, every line, felt like I’d done it wrong,
so I kept my voice to whispers in a room built for a song.

I remember every late-night collapse on the floor,
trying to patch myself with “never again” and “no more.”
But every time the world swung hard and didn’t land clean,
I woke up still here, somewhere in between.

[Pre-Chorus]
Thought I had to be untouched to be worth the time,
thought I needed perfect edges, perfect shine.
But the way my hands still shake and still hold on
might be the proof I needed all along.

[Chorus]
I’m good damage, I’m fine cracks with the light pouring through,
I’m the burn that says I made it out, not the fire that went askew.
I’m the worn-out faith that still hums under noise and static fear—
no, we won’t say “static,” scratch that—just the ghosts I used to hear.
I’m good damage, not ruined, just changed shape around the truth,
if you’re broke in the same old places,
there’s a room in me for you.

[Verse 2]
I’ve been the one who stayed when I should’ve walked away,
and I’ve walked when staying might’ve taught me how to stay.
I’ve said things that echoed like a dropped glass in a church,
left myself on read, called it “self-defense,” not hurt.

But somehow in the stumble, I learned a different step,
I found a way to hold my ground without holding my breath.
Now every scar’s a chorus I can’t un-sing,
it’s the price of every second wind I bring.

[Pre-Chorus]
Thought I had to be the blueprint they passed around,
thought I had to hide the versions I burned down.
But the way my laugh breaks when I say “I’m fine”
is its own kind of honest, its own kind of line.

[Chorus]
I’m good damage, I’m fine cracks with the light pouring through,
I’m the burn that says I made it out, not the fire that went askew.
I’m the messy proof that surviving is a kind of art,
I’m the tape and glue and gold seams
running wild across my heart.
I’m good damage, not ruined, just changed shape around the truth,
if you’re broke in the same old places,
there’s a room in me for you.

[Bridge]
Raise a glass to the almost-ending,
to the nights the floor felt thin.
To the friends who sat in silence
’til you found your breath again.
To the choices you regret
that still somehow carved out space
for the people who would meet you
in this unfinished place.

[Post-Bridge / Breakdown]
We’re not flawless, we’re not clean,
we’re the lines between the scenes.
But when the music hits our names,
every fracture lights the frame.

[Final Chorus]
We’re good damage, we’re fine cracks with the light pouring through,
we’re the proof that what tried to end us
only changed the way we grew.
We’re the shaky-voiced confessions shouted over crashing drums,
we’re the choir made of “I’m not sure”
and “I’m glad I didn’t run.”
We’re good damage, not ruined, just changed shape around the truth,
if you’re broke in the same old places,
there’s a place right here for you.

[Outro]
Turn the volume up on all the parts we used to hide,
let the songs wrap soft around the places we survived.
If tomorrow hits us harder, we’ll just sing a little louder,
good damage in the glow,
holding up the night together.

Good Damage

Domino Effect

Trust Me I'm A Doctor

No More Drama

Family Affair

The Great Escape

Country House (2012 Remaster)

Blur: The Best Of

Girls & Boys

Come On Over

Man! I Feel Like A Woman!

Born In The U.S.A.

Glory Days

Blur as we know it was born in 1989 when the band signed to Food/EMI. Debut album Leisure (1991) announced the arrival of a band with pop suss warped by an art-punk eccentricity. Yet Blur had more in them: namely, a revolution in the sound of English popular music. Second album Modern Life Is Rubbish reintroduced the idea that English rock music could be cool, and by the time their third album Parklife emerged in 1994, the rest of the UK had caught up. 

The Great Escape (1995) refined the sound palette of Britpop, but Blur were already moving on. 1997's Blur was an about-face - scuffed and noisy and un-English. Follow-up 13 was an even a more radical adventure in sound as William Orbit refereed a truce between organic punkpop and new-fangled technology.

Seventh album Think Tank (2003) was Blur’s first as a three piece after the temporary departure of founding guitarist Graham Coxon, featuring an eclectic variety of rhythms and textures and glorious melodies. 

In 2009 Blur reconvened as a four-piece to play a series of UK shows including two sold out dates at Hyde Park and a historic Sunday night appearance at Glastonbury. A film about Blur, No Distance Left To Run, was released in 2010.

Girls & Boys

Blur Official

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