You can dance. You can make me laugh.You've got x-ray eyes. You know how to sing. You're a diplomat. You've got it all. Everybody loves you. You can charm the birds out of the sky, But I, I've got one thing. You always know just what to say And when to go, But I've got one thing. You can see in the dark, But I've got one thing: I loved you better. Last night I woke up,Saw this angel. He flew in my window. And he said, Girl, pretty proud of yourself, huh?" And I looked around and said, Who me?" And he said, "The higher you fly, the faster you fall."He said, "Send it up. Watch it rise. See it fall, Gravity's rainbow. Send it up. Watch it rise. See it fall, Gravity's Angel.
I love your body 'cause I've lost my mind If you want someone to talk to, you're wasting your time If you want someone to share your life, you need someone who's alive And if every relationship is a two-way street, I have been screwing in the back whilst you driveI never said I was deep, but I am profoundly shallow My lack of knowledge is vast, and my horizons are narrow I never said I was big, I never said that I was clever And if you're waiting to find what's going on in my mind, you could be waiting forever Forever and everI can dance you to the end of the night 'cause I'm afraid of the dark I have to confess: I'm out of my depth You're going over my head and straight through my heartSome girls like to play it dirty, some girls want to be your mum Me, I disrespected you whilst we were waiting for the taxi to come My morality is shabby, my behaviour unacceptable No, I'm not looking for a relationship, just a willing receptacleI never said I was... I never said I was... I never said I was...I never said I was deep, but I am profoundly shallow My lack of knowledge is vast, and my horizons are narrow Oh, yeah. I never said I was big, I never said that I was clever And if you're waiting to find what's going on in my mind, you could be waiting forever Forever and ever
Extraño como un pato en el Manzanares,torpe como un suicida sin vocación,absurdo como un belga por soleares,vacío como una isla sin Robinson,oscuro como un túnel sin tren expreso,negro como los ángeles de Machín,febril como la carta de amor de un preso…,Así estoy yo, así estoy yo, sin ti.Perdido como un quinto en día de permiso,como un santo sin paraíso,como el ojo del maniquí,huraño como un dandy con lamparones,como un barco sin polizones…,así estoy yo, así estoy yo, sin ti.Más triste que un toreroal otro lado del telón de acero.Así estoy yo, así estoy yo, sin ti.Vencido como un viejo que pierde al tute,lascivo como el beso del coronel,furtivo como el Lute cuando era el Lute,inquieto como un párroco en un burdel,errante como un taxi por el desierto,quemado como el cielo de Chernovil,solo como un poeta en el aeropuerto…,así estoy yo, así estoy yo, sin ti.Inútil como un sello por triplicado,como el semen de los ahorcados,como el libro del porvenir,violento como un niño sin cumpleaños,como el perfume del desengaño…,así estoy yo, así estoy yo, sin ti.Más triste que un toreroal otro lado del telón de acero.Así estoy yo, así estoy yo, sin ti.Amargo como el vino del exiliado,como el domingo del jubilado,como una boda por lo civil,macabro como el vientre de los misiles,como un pájaro en un desfile…,así estoy yo, así estoy yo, sin ti.Más triste que un toreroal otro lado del telón de acero.Así estoy yo, así estoy yo, sin ti.
But at times words can be a dangerous addition to music — they can pin it down. Words imply that the music is about what the words say, literally, and nothing more. If done poorly, they can destroy the pleasant ambiguity that constitutes much of the reason we love music. That ambiguity allows listeners to psychologically tailor a song to suit their needs, sensibilities, and situations, but words can limit that, too. There are plenty of beautiful tracks that I can’t listen to because they’ve been “ruined” by bad words — my own and others. In Beyonce's song "Irreplaceable," she rhymes "minute" with "minute," and I cringe every time I hear it (partly because by that point I'm singing along). On my own song "Astronaut," I wrap up with the line "feel like I'm an astronaut," which seems like the dumbest metaphor for alienation ever. Ugh.
I had no songs in my repertoire for commercial radio anyway. Songs about debauched bootleggers, mothers that drowned their own children, Cadillacs that only got five miles to the gallon, floods, union hall fires, darkness and cadavers at the bottom of rivers weren't for radiophiles. There was nothing easygoing about the folk songs I sang. They weren't friendly or ripe with mellowness. They didn't come gently to the shore. I guess you could say they weren't commercial.Not only that, my style was too erratic and hard to pigeonhole for the radio, and songs, to me, were more important that just light entertainment. They were my preceptor and guide into some altered consciousness of reality, some different republic, some liberated republic. Greil Marcus, the music historian, would some thirty years later call it "the invisible republic."Whatever the case, it wasn't that I was anti-popular culture or anything and I had no ambitions to stir things up. i just thought of popular culture as lame as hell and a big trick. It was like the unbroken sea of frost that lay outside the window and you had to have awkward footgear to walk on it.I didn't know what age of history we were in nor what the truth of it was. Nobody bothered with that. If you told the truth, that was all well and good and if you told the un-truth, well, that's still well and good. Folk songs taught me that.