Is Morrissey Today's Prufrock?

I relate almost everything I encounter in my reading to music or movies. This is in no way forced. All my life my retention for song lyrics and movie dialogue has been uncanny; which is remarkable considering the volume of each I have digested over the years. (Yet somehow I can't remember phone numbers I use pretty regularly without looking them up.) When reading a poem, for example, at some point a lyric or a scene pops into my head that I associate with the overall theme, or with the events of a specific portion of the work. This was the case with Eliot's "The Love Song of J. Alfred Prufrock."
I'm specifically referring to the four stanzas that run from line 37 to line 69. Unitl this point, Prufrock has been on his way to a tea, and is using his description of the city to describe himself and his feelings toward the event to which he is going. "Etherised" (line 3) means numb and detached. "Certain" (line 4), "muttering" (line 5), "restless" and "cheap" (line 6), "tedious" (line 8), and "overwhelming" (line 10) are all straightforward in their meaning. Taken as a group, these words paint a picture of an anxious, confused, and when placed in the larger context of the city, disillusioned man.
The stanza contained in lines 37-48 has Prufrock hesitating to enter the tea, wondering "Do I dare?" (line 38). He is either truely self-conscious and worried about what the women will think of him, or he is using that as a possible excuse to bail out. It's important that he asks "Do I dare Disturb the universe?" (lines 46-47), as this tells us how small and insignificant he feels in relation to the women and the tea.
We learn in the following stanza (lines 49-54) that he has in fact been to many such teas before. That he has in fact "measured out [his] life with coffee spoons" (line 51). In the next two stanzas Prufrock admits that he is also very familiar with these women. I think he means not the specific women that are at this tea, but the type of woman one would typically encounter at such an event. If it was the same group of women over and over, I don't think he would feel like an insect being examined as he describes in line 57, "formulated, sprawling on a pin." He doesn't know how to approach or speak to a woman when he feels this way. He continually asks himself "how should I presume?"
At this point a lyric from a song by the Smiths exploded into my head, that to me, encapsulates this entire portion of the poem:

"There's a club, if you'd like to go

You could meet somebody who really loves you

So you go, and you stand on your own

And you leave on your own

And you go home, and you cry

And you want to die."

This is from the song "How Soon is Now?" written in 1984 by Morrissey (lyric) and Johnny Marr (music) of The Smiths.
From here, other apparent similarities between the song and the poem come to light. Prufrock continues his mental debate on whether or not he should dare to speak (line 80). He never summons the courage and laments in line 84, "I have seen the moment of my greatness flicker." This sentiment is echoed by Morrissey in the subsequent lyric:

"See I've already waited too long

And all my hope is gone."

Neither Prufrock nor Morrissey's unnamed protagonist is able to overcome his shyness and lack of self-worth. Prufrock, after leaving the tea, through his continued inner monologue, tries to justify his lack of action by questioning if it would have been worth it to engage that world and those women. This starts on line 87 with "And would it have been worth it after all," and continues through the break at line 110. Here he appropriately compares himself to the most famous man of non-action in literary history, Hamlet. He claims he's not like Hamlet, and lists all the things that he (thinks he) is to proove it to himself (lines 112-119). Prufrock is right, he's not like Hamlet; but not for the reason he thinks. Hamlet finally did something. Prufrock never manages to escape from his own head.
I would love to be able to say that Morrissey had this poem in mind as he wrote "How Soon is Now?" and it is possible, as he is very well read. In fact he references a line from a different Eliot in the same song. The opening verse stems from a line in George Eliot's Middlemarch: "to be born the son of a Middlemarch manufacturer, and inevitable heir to nothing in particular." (Thanks to Simon Goddard and his great 2004 book The Smiths - Songs That Saved Your Life for that information.) Alas, I will always have the pleasure of linking one of the greatest poems of American letters with one of the greatest songs and the most intriguing and offbeat wordsmiths of my genreration.