Cherish this moment
Feel inside (the same?)
We sit in the same room
Side by side
I give you the wrong lines
Look into my eyes
We both smile
Kill you without trying
That’s accuracy, accuracy, accuracy
(An observant prefers?)
Practice all day for accuracy
Mirror mirror on the wall
Ok, this as a second song: Again, very confident guitar work. Definite musical ideas, and each song quite different from one another We can say that for most of Smith’s songs.
The premise here is relatively simple at first: a moment between two lovers: they smile at each other, they seem to be enjoying each other, but Smith reveals that his narrator is thinking other thoughts. In fact, he is thinking murderous thoughts! Is that really it?
I don’t think so. I think that here, the notion of accuracy, is that he could ruin the other person’s day/week/month/year, by being a mean person, if he wanted to. If he wanted to mess with her head, he could. It’s a realization of a lover’s power: the realization that when you become a lover, that you and the other person are letting down guard. Smith seems to have a problem letting down his guard regarding intimacy and lovers, as we’ll see in several other songs from this period. He wants to provide us with the sense that even though he seems to have let down his guard, that he hasn’t. So here, instead of becoming a vulnerable lover, he’s pretending to become vulnerable—but he’s not. And yet, as observers, we suspect that in fact, a lot of this not being vulnerable, pretending to be invulnerable to his lover, is itself the real facade.
So here we get a double blind. It’s crudely expressed, perhaps, the notion of killing the girl in question is not very nice, but again, it should probably just be dismissed as youthful attempts to shock, which in any event Smith retreats from as he gets older, so we can cut him a break here. As with most of Smith’s ‘’kill you’’ references throughout this album , this is usually done in a sort of ‘throwaway’ mode, and is hardly the focus of the entire song, so one can hardly credit this as being ‘bloodthirsty’ music.
At the same time, the obsession with killing, the misogyny, esp. In light of the Cure’s first single “Killing an Arab”, should not be entirely overlooked. So whereas Smith becomes self-destructive later, shortly after this, in his lyrics, in a very obvious way, he starts out his career as a poet with a notable desire to talk about killing others. He starts out with a murderous writerly personality. Given that we mostly know Smith as a ‘’big softie’’ i.e., someone who wouldn’t really hurt a fly, this is interesting. It show something of inner rage, and also an upbringing which left him rough around the edges, I would argue. Let’s bracket this for now, however, and see how it plays out in subsequent lyrics. Worth flagging for the moment.