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Why I hate the Streets

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Why the Streets have no shame

The pop press is queuing up to heap praise on Mike Skinner and his everyday prose, but Caroline Sullivan's having none of it

Wednesday May 5, 2004

"Prolier-than-thou": Mike Skinner, aka The Streets

"I'm not trying to pull you/ Even though I would like to/ I think you are really fit/ You're fit, but my gosh, don't you know it" - Fit But You Know It, The Streets

This irritating piece of chat-up doggerel, which details Mike Skinner's (The Streets to you) attempt to woo an unattainable bit of microskirt, has embedded itself in my mind like a pebble you can't get out of your shoe. And I hate everything about it, from its prolier-than-thou setting (a burger bar in a package-holiday resort), to Skinner's gormless rap-mumbling, to the moronically spritely chorus.

I hate it because, despite having "novelty record" written all over it - think Splodgenessabounds' Two Pints of Lager and a Packet of Crisps with a UK garage flava - it has been greeted as a work of genius. Furthermore, its parent album, A Grand Don't Come for Free, isn't just genius, it's a downright "masterpiece" - or, in Q magazine's Pseuds' Cornerish opinion, "a spoken-word opera... the best album of 2004 so far".

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