Hah, wonderful! The references are of course too many and too blunt to leave any room for doubt. That being said, what Morrissey does in
Rusholme Ruffians seems to me to be something
very different from the general tone of Victoria Wood's song, which is frankly and straightforwardly nostalgic (or, failing that, equally straightforwardly sarcastic).
You almost get the sense that all of
his nostalgia is for the song and the singer he is referencing. For the actual subject and scene - the fair - there is none. If anything it's rather a gesture of alienation - he is drawing a scene taken from a song, and hence invoking "the last night of the fair" as a state of being or a sort of quasi-mythical scenery rather than as actual biographical experience. The last night of the fair, as experienced inside my head as I watch TV in my mother's sitting room. How very Morrisseyesque.
Anyway, what is so extraordinary about the lyric in my opinion is that it's so tense it's almost like a frozen explosion. A series of small telling scenes, each separate except in their shared tension - a schoolgirl joking about suicide, a vulgarly compulsive exhibitionistess, a radiant girl with an obviously tragic engagement, an eroticised speedway operator. This is what made me think of Dos Passos: The ability to conjure up an overpowering sense of vitality from an unconnected mass of barely glimpsed individual fates, caught at exactly the angle in which some key defining aspect emerges, in so far as we can tell.
Intermixed with this - or perhaps rather
engulfing it - the consciousness of the narrator; alienation (senses being dulled by all this pointless falling in love and getting beaten up as
the air hangs heavy like a dulling wine) the futile wished for gesture of the fountain pen - and this absolutely extraordinary self-affirmation in the midst of this swirling mass of strange-attractive-hostile humanity:
I might walk home alone, but my faith in love is still devout. In every sense the negation of everything that went before it in the lyric.