Original subtitles

It's just a little moment in time, that's the fun of a record, but it's

just this very ephemeral thing that happens to be captured.

You're not there anymore.

It's acting.

Transformer, for me, is a total timeless album.

I'll still be playing when I'm like 76.

I

really

wanted it to work for him and be a memorable album that people wouldn't

forget. Transformer hones in on a very specific sense of identity.

And I think David had a lot to do with shaping it because the album is somewhat

of a tribute to the Warhol scene.

Did you see what she did to him? Did you hear what they said?

Just a New York conversation rattling in my head.

The great thing about Transformer is that it sounds great now because it was

not made to sound like 1972.

And what he was singing about...

Of course, if my mother could have understood it, she would have been

absolutely appalled.

But she never lost her head, even when she was giving head. She says, hey,

babe, take a walk on the wild side.

Said, hey, babe, take a walk on the wild side.

And the colored girls go doo-doo-doo, doo-doo-doo. I don't know what people

get opened up to.

I was just writing about people I knew.

where I come from.

I'm waiting for my man.

Hey, white boy, what you doing uptown?

We're sponsoring a new band. It's called The Velvet Underground.

And we're trying to...

Since I don't really believe in painting anymore, I thought it would be a nice

way of combining, and we have this chance to combine music and art.

I'm waiting for my man.

I had written most of the stuff before I met him with similar interests.

It was like a hand in a glove.

He just said I was lazy.

He said, oh.

Oh, how many songs do you write today?

And I said, five.

He said, why didn't you write ten? You're so lazy.

You're just lazy.

You know, you should be writing all the time.

And so, I really admired and do admire him to this day.

There's no telling where the group might have gone had Andy not...

or heard the music or met the group, it seemed almost fated that the group

would be essentially connected with Andy Warhol. Andy was really supporting us. I

mean, he got us equipment, and we would go to the factory, and Andy would feed

everybody. He'd just take everybody out, and he would pay for it by doing some

commercial art.

The factory was a place where Andy made paintings and...

shot films.

It was a kind of center where people would gather from time to time and

exchange creative ideas.

Kind of a laboratory.

Most bands of the time were either writing songs about love or how to get a

girl. And the Velvets were like a true newsreel footage.

And they also seemed to be pushing the boundaries of rock toward a place

That was almost akin to something like free jazz the Velvet Underground you

could actually sit there and actually You know work out the song in about ten

minutes and then the lyrics were so amazing So you memorized them and you

were off, you know running around Britain with a guitar The Velvet

Underground were really the seminal band for so many musicians uh you know

there's that old expression that they didn't sell a lot of records but

everyone who bought one uh started a band and in a sense it's very true well

if that's that's true i wish they would give me a piece of the royalties but i i

don't know i don't know if that's true um i never cared about credibility

except from me that's all we always thought we were the best and i still do

When Lou left the Velvets, he literally disappeared.

You know, he played Max's one night in August of 1970, and he was gone the

next. Went back to Long Island, you know, worked for his father's firm. He

literally walked away from everything.

Well, there'd been, like, a real problem with management. I went off to lick my

wounds. My mother had told me when I was in school, she said, you should take

typing so you have a profession to fall back on.

At that time, it wasn't such mega news that it would reach, you know,

Sunderland's daily, weekly newspaper.

It was more suddenly a record came out that wasn't about Underground, but it

was Lou Reed.

It's not representative of his sound. It was made in London.

It's made with, you know, all these classy British session men. Rick Wakeman

plays on it.

you know here's a guy from you know yes ultimately going to be in yes playing on

a lou reed record the first record was a flop so go make another one you know in

those days they gave you a chance you could go make another one yes i am

mother nature's son and i'm the only one i do what i want and i want what

i see could only happen to me

I'm so free.

I'm so free.

I think that from what I understand Lou and Bowie had met and were friendly and

certainly had many things in common.

Whoever's idea it was to put them together, it's a brilliant idea.

David was in town, we got introduced.

I think the record label thought he was very contemporary.

And I thought all the records that sounded good were coming out of London.

I was petrified that he said yes, he would like to sort of work with me in

the producer capacity because I had so many ideas and I felt so intimidated

by...

my knowledge of the work that he'd already done. I mean, even though there

was sort of only that much time between us, it seemed like Lou had this great

legacy of work. Lou wanted to reach the pop audience that David was

skyrocketing on at the time.

And David was consciously placing himself within the artistic tradition of

the Velvets.

And I'm the only one. I never had kids screaming at me particularly.

They'd scream at David, not at me.

Me, they would throw syringes and joints on stage.

Isn't that a great line?

Having someone like Bowie help him get that kind of attention, get him the

marquee value of a producer's name produced by David Bowie and Mick Ronson,

you know, that's valuable.

That's valuable coin.

i remember meeting him at max's kansas city and then he came down to the hotel

a couple of times and we sit around and talk about the production of the

transformer album and uh you know he'd sit and play you know a new song you

know kind of try and put it on a little tape recorder or something you know with

uh you know ronald and david there was you know a real uh

simpatico

which is certainly part of the situation I had in the Velvets and was, you know,

miles above where I'd been on the first Lou Reed record, where there was nothing

simpatico. So we were going to go to London again, this time with David and

Rono.

the thing about transformer is that it is not like a faux velvets record it is

not full of old velvets songs that he was working his way through you know he

was this was this was new stuff this was a new it was it was an entirely new

project i couldn't be in the direction of the velvet underground because only

the velvet underground could make that sound and i didn't have a band so i was

going to be stuck with studio musicians david phoned up and said

Have you ever heard of a band called Velvet Underground?

I think so.

And he said, well, one of the guys, Lou Reed, wants to do an album, and

it's at Trident Studios.

Do you want to do it? It's three days' work.

You know, it was really good fun. I really enjoyed myself in the studio.

Lou Reed sat in the corner somewhere. I can't remember ever seeing him,

actually. I don't remember seeing him there at all, but he was there somewhere

in a gloomy corner.

with dark glasses on and dressed in black.

I just, you know, ran over the songs with them.

By that I mean the chord structure and the melody.

Vicious You hit me with a flower

You do it every hour

You're so vicious

Vicious

Want me to hit you with a stick.

All I got's a guitar pick.

You're so vicious.

Vicious is a song that has its origins in Reed's relation with Andy Warhol.

He said, why don't you write a song called Vicious?

I said, vicious?

What kind of vicious?

He said, vicious, I hit you with a flower.

I said, oh.

What great idea The

whole

setup for this was to try and make it a lot more basic than a lot of the Bowie

things that we've done in the past and we just started off with bass drums two

guitars and

Some of the tracks had more overdubs than others. This particular one,

Vicious, it was kept sparse.

And there was an effect that we tried that I don't think was used in the mix

at all, but it's still on the multitrack.

It's a backwards echo.

You know,

Lou was so laid back, you know, he kind of...

Walk into the studio.

Hey, you know, I think so sit down in the chair put his guitar on But I'm

gonna be all out of tune, you know Maybe I'll be ready, you know, like this

guitar like We're out you know, you know, we're out young and I kind of

wander off and I can't you know Tune it up a bit and Louie used to look at me

like, you know Okay, you know, he didn't really care whether it was in tune or

whether it's out of tune really He's kind of wanted to sing the song, you

know, the thing with Rana was I could I very rarely understand a word he said.

He had a hull accent. He'd have to repeat things five times.

But a really sweet guy.

Great guitar player. Really sweet guy.

Well, the satellite's gone way up to the sky.

Things like that drive me out of my mind.

Well, I watched it for a little while I like to watch things on

TV

Ah

You're a satellite of love

You're a satellite of love

You're sad to

I find out what the songs are about when I do them out loud in front of an

audience, actually performing them.

And over the years, I realized Satellite Love is really about jealousy.

That's what I think it's about. But I could be wrong.

I mean, just because I wrote it doesn't mean I know what it's about.

It's a wonderful song, essentially about obsession, about stalking.

And yet it's really a beautiful ballad that also brings out...

the romance that's sort of at the heart of the obsession.

This is somebody who just is following someone everywhere because they don't

trust them, but that lack of trust is based in, you know, complete

devotion.

Satellite's gone way up to Mars

Soon

it'll be filled

It's also got that weird little, you know...

Humor in it that whole bridge, you know, I've heard that you've been out with you

know, Harry Mark and John whoever they are Tom, you know You know She's out.

Whoever this person is. She's out with everybody I've been told that you've

been bold with Harry Mark and John Monday

and Tuesday Wednesday Thursday with Harry Mark and John

When I hear Satellite of Love, I think of all those kids standing on the street

corners of Brooklyn when I was a mere tad, hitting notes and harmonizing and

trying to sing Stormy Weather.

To me, it's the doo-wop loo, which is a very sweet and tender part of him.

Satellite, that's David.

David's amazing at background vocal parts. That bong, bong, bong.

That's okay. It's really great. But the really great thing is the high note at

the end.

i mean very few people could do that i just loved when he did that it's just i

mean what a move i mean see i think everything is really about details

and that was the exclamation mark i thought when he goes up like that very

few people could do that really pure and beautiful there

he goes

Isn't that great?

That might have been me.

Oh, my God.

I think the concept of Transformer is very important because,

in a sense, that's what the Warhol scene offered to people, these

odd misfits, to transform and become their inner beauty, whatever

strange and eccentric forms that might take.

Lou was writing from were experiences that went back to the factory when he

was sitting in the factory and observing this parade of people walking in and you

know just coming from all kinds of strange corners of culture and society

and Watching them interact and mingle and try and make lives for themselves in

this in this freak show in the beginning it was like a bunch of drug type people

and then

And when I went to work there, it was my job to kind of get rid of all of those

people. And then it was just people that would do one day in a film with them,

and they would hang on for years and years and years.

I was a kid. I was 15 years old.

All I wanted to do was learn.

And everyone just kept on wanting to have my body. And I went, I don't want

your, I don't want, I don't.

All I want to do is learn. I want to grow.

But nobody listens to a child.

I used to keep a notebook.

But that was just to put down good lines, like people would say really

funny things.

But I hadn't thought about writing about them.

I don't know why I wrote about them.

Holly came from Miami, FLA.

Hitchhiked away across the USA.

You know, actually, I've always thought of it more like a story thing. There is

a book by an author called Nelson Algren called Walk on the Wild Side.

The book deals with the kind of dregs of society, as it were, you know, the down

and out.

And this would seem to be a kind of connection that Lou had made.

I read the book.

It's quite a book, to say the least.

And I was working with these guys. They wanted to make a play out of it. And

they said, well, there should be a song here, maybe a song here.

And it's got to be a title song. So I was writing a title song.

And then they got this offer to go do Mahogany. And they said, see ya.

So I had a song called Walk on the Wild Side. So I rewrote it. And I put in

everybody from the factory, Warhol's factory.

My friend called me up and said, there's a song about you.

I said.

You're shitting me.

And then I'm in a cab and they're going,

don't believe Harley came from... I'm going, how the hell does Lou Reed know

that I shaved my legs and plucked my eyebrows?

I never met him. I met him once at a party at the factory.

But, you know, we didn't have intimate relations.

Holly came from Miami, F.L.A.

Hitchhiked her way across the U.S.A.

Plucked her eyebrows along the way.

Shaved her legs, honey, he was a she that said hey.

Take a walk on the wild side.

Candy and Jackie and Holly were...

You know, it's funny, you think back now, you want to call them

transvestites, or are they transsexuals now?

The vocabulary has kind of evolved, but they never pretended the fact that they

were men to begin with. Especially Candy was very ladylike.

Candy and I were very close, and we used to go out on dates together, so I never

thought for a second I was going out on a date with a man. You know, it's one of

those things.

Candy came from out on the island.

I never met Ruth.

The character that he wrote about, he just took it from having seen the movies

that I did with them. My starring roles were Flesh, Trash, and Heat, the trilogy

I did with Paul Morrissey and Andy.

And so he just took... took it from the roles that he saw me play and because

the early factory the movies that they made were just about whoever appeared in

them were just playing themselves and that wasn't the case with me anyway so

he wrote a song about that character that was cool little

joey never once gave it away everybody they had to pay and pay

We searched and searched.

And what the Sugar Plum Fairy was, was a

drug dealer.

That's what they called him, Sugar Plum Fairy.

That was his name.

You know, just this hustler out of San Francisco.

Yeah.

But, um... You know, friend of Andy's.

Or somebody's. I didn't. Certainly not a friend of mine. I didn't know him.

But with a name like that, it was too good to leave alone.

I mean, now you have Snoop Doggy Dogg, so...

But I think Sugar Plum Fairy preceded the dog.

You listen to Walk on the Wild Side, there's not much going on in that track.

You have that really great swinging, kind of weird waltz time jazz bass and

the sax, but there's not a lot of guitar, there's not a lot of music

crowding Reed's voice.

The bass is probably one of the most famous bass lines around, and it

consists actually of two basses.

Herbie Flowers started off playing and upright with the track and he had this

very strange idea which david let him go along with where he wanted to double

track it there was a crafty little thing that us session musos used to get up to

that the recording rate was i think 12 pound for three hours but if you over

dubbed that meant put another instrument down you got double the money so

he started off playing the acoustic bass

I put the double bass down first.

Like when I say first, with the guitar and the drums.

So I then asked Ken, the engineer, if I could go straight back down and overdub

the electric bass in tenths, just to give it a little

bit more...

atmosphere or character we

first started this the

the drummer was told kind of what was wanted and he started playing it with

sticks and I was upstairs in the control room he just it sounded like a March

those quickly dashed down the tongue was try brushes and it stuck everyone liked

it

This is how it finished up. Jackie is just speeding away.

Thought she was James Dean for a day.

Then I guess she had to crash.

Val Young would have helped that fashion set he be.

Take a walk on the wild side.

I said, hey, honey, take a walk on the wild side.

And the colored girls say, dude. I think that Walk on the Wild Side by Fluke got

on the radio.

And it was, of course, such a catchy tune.

And I don't even think people really understood what the subject matter was

to a great extent. So the people who did understand it were very amused by it. It

took, I think, probably nine or 10 months before a disc jockey called

Johnny Walker He actually phoned me up and said, oh, I've just heard an album

called Transformer and I'm picking a track called Walk on the Wild Side as

Record of the Week next week.

And I said, but the lyrics.

The BBC just didn't know what Even When She Was Giving Head meant.

And so it goes on the radio and, of course, all these young guys, hey, you

know. Whoa, BBC missed that one.

But she never lost her head, even when she was giving head. She says, hey,

babe, take a walk on the wild side.

Said, hey, babe, take a walk on the wild side.

And the colored girls go doo-doo-doo. I never thought of having a head.

Wild side be a head? You've got to be kidding.

No. But I didn't think about anything being a head.

Lou really walked on the wild side.

He walked it like he talked it.

And people like stories of explorers going out into the

wilderness and bringing them back alive.

And Lou did.

He brought back these character portraits from a world that people were

intensely interested in. Well, let me backtrack.

William Burroughs had been there, Allen Ginsberg had been there, Hubert Selvey

had been there, but it was uncharted territory for song lyrics, except maybe

in old blues writers.

Most pop lyrics you just can't read as poetry because they're totally connected

to the music, and if you take the music away, it starts to sound a bit strange.

But with blues lyrics, you can actually just read them out from a page like a

brilliant poem.

Andy's chest.

If I could be anything in the world that flew, I would be a bat and come swooping

after you, and if the last time you were here things were a bit askew, well, you

know what happens after dark, when rattlesnakes lose their skins and their

hearts and all the missionaries lose their bark, all the trees are calling

after you and all the venom snipers after you, or all the mountains boulder

after you.

One of the things I really like about Andy's Chest is that it's kind of a

pretty song, but it's also, it's got this undercurrent of, well, certainly

violence, you know.

makes a reference to the attempt on Warhol's life by Valerie Solanas who had

been sort of a member or a hanger out at the factory and had developed this kind

of feminist manifesto thing and she just decided that you know Warhol had to go.

Andy had was given a script by this woman Valerie Solanas and

Because Andy didn't really read it, he kind of tossed it in the pile somewhere,

and then she psychologically felt that he was controlling her life by not

returning the script, and the only way that she could free herself

psychologically was to symbolically shoot him, maybe not intending to try

and kill him, but nevertheless she wounded him seriously. So it really

got spun out of control, as it were.

I'm not going to explain it to you. It's like what I thought about Andy being

shot. It's a love song.

And curtains laced with diamonds dear for you.

And all the Roman noblemen for you.

And kingdoms Christian soldiers dear for you.

And melting ice cap mountaintops for you.

Oh, and knights in flaming silver robes for you.

and bats that with a kiss turn prince for you swoop swoop oh baby rock rock

swoop swoop rock rock swoop swoop rock rock

he is a poet and of

course he more than anybody else is identified with one particular city i

mean i suppose the beatles were identified with liverpool um but the

beatles are really became very universal very quickly lou is always identified

with new york all right now

there's a very urban experience related to

lou's work it would be very funny to hear to listen to a record a song of

lou's where he's talking about you know

you know, flowing rivers and mountains and trees.

But I mean, Lou's work is very much tied into a kind of New York urban

experience, as it were. This is New York Telephone Conversation. It's the

shortest track on the album.

The other thing that makes it different from any of the others is everything was

recorded 16 track.

And this one, we only use seven tracks of the

16 we had room to make it much much bigger but it wasn't needed it's just

bass cymbals and piano and Lou and David doing vocals and it was all cut live

I was sleeping gently

napping when I heard the phone

Who is on the other end talking? Am I even home?

This is Lou soloed. Did you see what she did to him? Did you hear what they said?

Just a New York conversation rattling in my head. David.

Oh my, and what shall we wear?

Oh my, and who really cares? Together.

It's a great little social portrait of what in Retrospect

was a very small scene gathered around the back room of a club on Park Avenue

South and the strange characters that found themselves, found their

sense of being.

I think people always think that artists are singing about themselves, that

there's an element of autobiography, even if the artist thinks they're

creating a character.

But the artist is creating a character from what they know. And so I believe

that there is that element of personality.

I mean, people believed.

And I think to carry off those songs, Lou had to believe Lou. I don't want to

go to an extreme and say, you know, is Shakespeare really Hamlet?

Or is he really Macbeth? Or is he King Lear? Or is he this or is he that?

You know, not by any stretch of the imagination to compare myself. I'm just

giving a really ludicrous example to bring it back to earth a bit.

But there's always parts of your own experience and personality in whatever

you're writing about.

Lou is guilty of expressing a

certain area of concerning sex, deviant sex and drugs, in such a brilliant way

that it did inflect a lot of what came after, and it did

form people's image of him, and in a way, That's what I shot

when I shot the Transformer cover.

I was shooting that. I wasn't really shooting the love songs.

So I only shot what he presented to me. It was not my suggestion the way he did

it. David's ex-wife took me out and said, you know, let's dress you.

Can't wear this. Let's get you something.

And there I was in rhinestones. I was glorious.

I love the pictures from them.

The makeup I put on was this stuff I found from Japan that took all the color

out of your face.

Because they were saying pale New York, so I tried to make it go one step

further, no blood.

Originally, the concept for the back of the cover was going to be the front.

That was my friend Ernie, you know, and he just put a banana down there.

I mean, if he was really like that, we all would have been too jealous to let

him, you know, never would have put him on the back, just say, go away, we don't

even want to be near you.

A lot of people would ask me if they were both Lou Reed, I remember at one

point. That I have heard about, like, you know, people asking me, you know, am

I the woman, am I the woman and the guy?

It's really funny.

What was really great was that they could think I could be both of them.

That was really great. My God, I could have had a whole new career.

In certain ways, it's arguably the definitive album of the times, although

you could also argue for Ziggy Stardust. But maybe those two, the Ziggy and the

Transformer. But the Transformer was the perfect reflection of that summer.

And in many ways, I have discovered that the...

Transformer album cover represents the decadent glam thing probably more than

any other image.

Your face when sleeping is sublime.

Glam and glitter rock in 1972 and 73 for most kids was about dressing up. And it

was about testing sexual identity at an age when you're still forming your

sexual identity.

Then comes pancake.

There was this whole glam thing going on, so I just put myself in that head.

It's not like I had to go very far to do it, you know.

I have about a thousand selves running around. It's easy.

The thing about Transformer and the best of Reed's records and songs is that they

are not didactic.

He is not telling you what is right and what is wrong. He's telling you what is.

And he's doing it in ways that make you think.

Now we're coming out Out of our

closets Out on the streets

Yeah, we're coming out

I listen to these songs and I can't believe how perfect they feel today.

I mean, Perfect Day is a great example. It was number one in England 25 years

after it was written.

It's a phenomenal song.

I think it's just sublime.

Lou wrote the piece and somebody else extended it. It's like Shakespeare,

isn't it? I mean, if the stuff's good, you can do anything.

I think there's a whole confusion, you know.

People talk about singers and who's a great singer.

and who's a great guitar player, and they confuse it with maybe some kind of

Olympian feat of singing, of vocal acrobatics, or, you know, guitarists

playing a million notes a second.

But that's got nothing to do with it, really. I mean, it's the same in

painting. You know, somebody could paint the back garden scene absolutely

perfectly, and somebody could come along and do two brushstrokes.

And to me, the more refined you are...

Songwriting gets the sort of less brushstrokes you're using.

Oh, it's such a perfect day I'm glad I spent

it with you Such a perfect day

you just keep me hanging on

You just keep me hanging on.

It's a fantasy perfect day. The whole thing's about not just you're going to

reap what you sow, which is cliche, but the line before it.

I thought I was somebody good.

I like that idea.

Just a perfect day.

You made me forget myself.

I thought I was someone else.

someone good.

When you start to understand songs like Perfect Day and you

know the feeling that comes from that song which is like steeped in some kind

of drug crazed sort of scary dark feeling

with this like beautiful melody going on. I mean I think he kind of was

one of the writers that taught

me things about light and shade and darkness you know and taking all

of that sort of music that turns into sort of Disneyland and diffusing it

and making it into like black land meets Disneyland or whatever so you always

have this weird sort of feeling in the music that is it could go really scary

now or it could suddenly become all right every song i've ever written in my

life has i've tried to write emotionally and all the songs are

geared to try to cause an emotion and they're always about conflict lou used

to say some funny things i mean i can't remember quite what he used to say to me

but some things like yeah

Can you make it a little bit more gray?

I mean then to me it was like what the hell is he talking about? Yeah, I Guess

he was just trying to explain things in you know, a more artistic way or

something, you know That kind of was kind of going over my head a bit, you

know You're going to read just watch

you so

Isn't that beautiful? Wow.

Boy,

Ronson's good. Wow.

Isn't that amazing? Just like that.

See, I think sometimes with a really good arrangement and parts, you don't

need a vocal.

He always said that, you know, he made records when he was in the Velvets, and

later on, his idea of a record was something in which he was talking

directly to you.

You were in one room, sitting across from each other, and he was singing

directly to you, and you hear that in the character of his voice.

Everybody can talk about tracks on Transformer, and you go, vicious.

perfect day walk on the wild side makeup and his chest but good night ladies is

just like i think the best song on the album it's just this fantastic um number

which is like it sounds like a load of guys clowning about i don't know whose

idea was let's bring in an oompa band which is not what they call it in london

whatever you call it and david went and got one or someone went and got one and

uh

This is what they sounded like.

This one features Herbie playing Cuba.

I think the last track that was recorded was Goodnight Ladies and by then we're

running out of steam, and it felt like, well, here's a song, it's got a steady

lilt to it, and I thought, well, maybe it should just have,

like, can I use tuba on it, and can I phone up a trumpet, have, like, a

Dixieland band.

But now you've sucked

Don't forget the absurd mixture of people. The music was always going to be

a bit off the wall.

And no way would it have ever been a copy of The Velvet Underground.

Because Lou wouldn't have wanted that. I'd never heard of them.

And it just seemed a good idea at the time.

And then you kind of think of the imagery.

There's David Bowie.

You know, on the production desk with Mick Ronson, you know, these rock gods.

And there's this bunch of wily old session musicians with a brass band

doing this bizarre song, which I just think is like absolutely fantastic.

And then you listen to the lyrics and it is, it's about like a guy who's lost in

love again. And it's the forlornness of that.

That's Lou Reed. It's a Lou Reed song.

People wanted to hear

Transformer. They wanted to hear Walk on the Wild Side.

And because there was enough of them, it became a hit.

One of the most unlikely hits.

of that year or probably any other year the amount of time that went from lou's

darkest nights to suddenly him being the star that he could never be in the

velvets was less than a year it's really quite extraordinary when you think about

it transformer was just a massive album i actually think it's a brilliant album

i'm not so sure that lou

thinks it's a particularly, you know, his favorite album or whatever. I think

part of him felt to a degree that maybe there was psychologically a little

compromise with Transformer.

But, you know, he's wrong.

It's a brilliant album. The fact that it was commercially successful, well, he

just got lucky with that.

I mean, it's just an album.

They're just songs. It's just an album.

It's... You know, you do an album, then you have the rest of your life.

Saturday night Now if I was an actor Or a

dancer who was glamorous Then you know an amorous life would soon be mine

But now the tinsel light of Starbreak Is all that's left to applaud my heartbreak

And at eleven o'clock I watched the network news

Oh, whoa, whoa.

Something tells me that you're really gone.

You said we could be friends, but that's not what I want.

Ah, anyway, my TV dinner's almost done.

It's a lonely Saturday night.

I mean to tell you, it's a lonely Saturday night.

You guys were pure pleasure, I must say.