Another blurry dawn, another escape
Don't even want to see his face
Less to remember, less to erase...

there sits johnny on a stool by the front door.

waiting on someone to change his life.

hoping and praying it's not a heartbreak.

the edge of another sharp knife.

this place is a whole lot like quiksand.

you struggle but you can't break free.

you keep drinking and you keep dreaming.

telling yourself it won't be me.

Posted by: @japov

Another blurry dawn, another escape
Don't even want to see his face
Less to remember, less to erase...

Hi JAPOV, that may be a good bridge, pending how the additional verses take form.

Posted by: @ckiphen

this place is a whole lot like quiksand.

Hi Carroll, I have another lyric titled This Ain't The Kind Of Place that has similar sentiment. 

Anyhow, introducing a second character with something in common with Jenny would certainly work.

Just spit balling. Hope between me and Japov we’ve helped

Posted by: @ckiphen

Just spit balling. Hope between me and Japov we’ve helped

It does help, thanks. Writing lyrics can get frustrating for me at times. I've written first drafts in 20 or 30 minutes and have them close to finished. Others, like this one sit for years unfinished.

Hard Rhyme, long 'a' with long 'a' or 'o' with 'o', for examples, help make a Song Lyric more 'memorable', memorizable for the singer, remember-able for the listener.
The late Meat Loaf sprang into global consciousness with the "Bat Out Of Hell" album, which did not Rhyme, yet stayed on the charts for 20 years and sold 20 million copies. (Maybe 120 million. I forget.) Perhaps the guy who wrote it knew what he was doing with Arrangement (instrumental accompaniment) and Melody, and the operatic theme that runs throughout.
But Rhyme is a tool for setting Rhythm points and enabling people to remember the story of the Lines because they learn the Rhymes while listening.
Your nine-Line Verse I doesn't seem to Rhyme.
Rhyme also establishes a pattern to Repeat in other Verses, Repeating the Melody, with new Lyric advancing a Storyline.
You might be able to make it work as is, but only hearing the Melody and Arrangement would enable making a judgment.

"Who You Really Are" Copyright 15 years ago (2022 - 15 = 2007) by CharlieW.
[Verse I]

There sits Jenny at the end of the bar, (present tense)
hidin’ another scar on her heart,
with whiskey, and the codone she copped out back.
But this time was the worst, ('was' is past tense; 'is' would be present tense, happening now.)
I’ve ever seen her!
Won’t she ever learn;
these bars are full of cheaters.
The boy who’ll make her happy.
is looking somewhere else.
(Verse I sets a pattern with the number of syllables in Lyrical Lines, which dictates the number of Notes to sing in the Melody. 
I would expect that pattern to Repeat in Verse II, another element of memorability, Repetition of Melody, Rhyme-Scheme, Arrangement to accompany the 'Movement' of a Verse II in the overall Composition. )

[chorus]
The writing’s always there,
but I guess reading walls,
ain't all that fun,
and even if you do,
what’s it gonna help,
just knowin’ when to run! Run! Run,
from all you’ve ever known,
from all you’ve become?
You’ll never make it far,
from Who You Really Are.
(Your Chorus is ten Lines, eight of them in one long sentence. Deleting 'and' and 'but' and breaking it into shorter sentences might have an effect you'll like. And one listeners might relate better to.)

The writing’s always there!
I guess reading walls,
ain't all that (much) fun.
Even if you do,
what’s it gonna help,
just knowin’ when to run, run, run,
from all you’ve ever known,
from all you’ve become?
You’ll never make it far,
from Who You Really Are.
(THE Hook, the title Line, here in the strategic last Line position, the last thing left ringing in their ears as the Chorus ends, is a rather abstract concept. Repeating it to emphasize it as THE Hook, the main idea of the Song, might benefit the memorability factor. But that means your Chorus is even longer. The Chorus has waxed philosophical, philosophizing to the general audience, leaving Jenny and the scene of Verse I behind. Keeping Jenny in the Storyline might also be beneficial in sustaining the Hook Factor of the story, keeping listeners engaged, 'Hooked', paying attention.
Philosophical Lyrics often don't work for me. Some may refer to it as a 'preachy' style for that reason.)

(Here's something in that vein. It doesn't set up well for the last two Lines, reverting to the general philosophy mode, not specific to Jenny perhaps. The Narrator Character is in the Song too. Perhaps its his own assessment of things.)

The writing’s always there!
I guess reading walls,
ain't all that (much) fun.
Even if she does,
what’s it gonna help,
just knowin’ when to run, run, run,
from all she's ever known,
from all she's become?
You’ll never make it far,
from Who You Really Are.
Who You Really Are.

[Verse II] would Repeat the patterns of syllable/Note count, the number of Lines, the Melody and basic Arrangement of Verse I. Some nuances of difference can work, but mostly the Repetition is 'identical' or nearly so.)

There sits Jenny at the end of the bar, (Line 1, two phrases, four syllables, and six, ten total, to match.)
hidin’ another scar on her heart, (Line 2, 9 syll/Notes.)
with whiskey, and the codone she copped out back. (Line 3, phrases of 3 and 8)
But this time was the worst, (Line 4, 6 syll/Notes.)
I’ve ever seen her! (Line 5, 5.)
Won’t she ever learn; (Line 6, 5.)
these bars are full of cheaters. (Line 7, 7.)
The boy who’ll make her happy. (Line 8, 7.)
is looking somewhere else. (Line 9, 6.)

(A Verse II should advance the Storyline, leading back to the Chorus in a logical way. Ideally a Chorus Repeats identically. Some variation might work. Only reading and hearing enable judgment. Matching up the syllable/Note count makes the Melody Repeat, and listeners recognize the Structure of Repetition and Change.)

[Verse III]? Or a Bridge, Repeat Chorus, Coda and end? Time becomes a factor. How long is the Song? Can we keep the audience Hooked that long? Or will they drift off to their own thoughts and notice when the Song ends they haven't been paying attention? Only hearing it will tell. Can we find a Verse III Lyrical idea that ends the Storyline satisfactorily?)

Try this Structure if you have music.

Who You Really Are

There sits Jenny, at the end of the bar,
hidin’ another scar on her heart,
with whiskey, and the jukebox wail.
This is the worst I’ve ever seen her.
She learns but the lessons get meaner.
The boy who’ll make her happy
is on a different trail.

[chorus]
The writing’s always there
but you have to read the walls!
You have to get up early with the Sun!
Even if you do, what’s it gonna help
if all you wanna do is run! Run! Run!
from all you’ve ever known,
from all you have become?
You’ll never make it far
from Who You Really Are!

(Verse II)
There sits Johnny, on a stool by the door,
waiting on someone to change the score,
hoping for another second chance.
He keeps drinking. He keeps dreaming.
The world around him keeps on scheming.
The girl who'll make him happy,
is at a different dance.

The writing’s always there
but you have to read the walls!
You have to get up early with the Sun!
Even if you do, what’s it gonna help
if all you wanna do is run! Run! Run!
from all you’ve ever known,
from all you have become?
You’ll never make it far
from Who You Really Are!

(Bridge)
Today's a different day!
Their eyes meet across the room.
The sun shines through the door
and lights the darkened tomb!

The writing’s always there
but you have to read the walls!
You have to get up early with the Sun!
Even if you do, what’s it gonna help
if all you wanna do is run! Run! Run!
from all you’ve ever known,
from all you have become?
You’ll never make it far
from Who You Really Are!

The writing’s always there
but you have to read the walls!
You have to get up early with the Sun!
Even if you do, what’s it gonna help
if all you wanna do is run! Run! Run!
from all you’ve ever known,
from all you have become?
You’ll never make it far
from Who You Really Are!

You'll never make it far,
from Who You Really Are!