ALEXANDER WANG F/W 10 BACKSTAGE
Tuesday, 29 March 2011
If You Can Afford Me LYRICS
If you want me, a cherry on top, the pick of the peck,
The crème de la crop.
If you want me you better do better than that tonight.
Oh, Oh.
If you want me, it takes more than a wink,
And more than a drink and more than you think.
If you want me you're gonna have to break the bank, tonight.
Cause some don't have the patience, some call me high-maintenance
But you pay the bill, cause, that's the deal.
If you wanna ride, just name your price don't play cheap, with your heart
Don't make a bet if you can't write the check, for me, for me.
Cause I can be bought, but you'll pay the cost
If you can afford me
If you want me, I'm not a piece of ass, a one night stand, a storage shed
I think you better walk by, tonight
Oh, no.
If you want me, then stop begging I don't put out for charity
If you want me there's no discount price tonight
But I don't need your dollar bills I just want something real
Cause, nothing's free, except a lovin' me
If you wanna ride, just name your price don't play cheap, with your heart
Don't make a bet if you can't write the check, for me, for me.
Cause I can be bought, but you'll pay the cost
If you can afford me
If you want me, a cherry on top,
The pick of the peck, the crème de la crop
If you wanna ride, just name your price don't play cheap, with your heart
Don't make a bet if you can't write the check, for me, for me.
Cause I can be bought, but you'll pay the cost
If you can afford -
If you wanna ride, just name your price don't play cheap, with your heart
Don't make a bet if you can't write the check, for me, for me.
Cause I can be bought, but you'll pay the cost
If you can afford me
The crème de la crop.
If you want me you better do better than that tonight.
Oh, Oh.
If you want me, it takes more than a wink,
And more than a drink and more than you think.
If you want me you're gonna have to break the bank, tonight.
Cause some don't have the patience, some call me high-maintenance
But you pay the bill, cause, that's the deal.
If you wanna ride, just name your price don't play cheap, with your heart
Don't make a bet if you can't write the check, for me, for me.
Cause I can be bought, but you'll pay the cost
If you can afford me
If you want me, I'm not a piece of ass, a one night stand, a storage shed
I think you better walk by, tonight
Oh, no.
If you want me, then stop begging I don't put out for charity
If you want me there's no discount price tonight
But I don't need your dollar bills I just want something real
Cause, nothing's free, except a lovin' me
If you wanna ride, just name your price don't play cheap, with your heart
Don't make a bet if you can't write the check, for me, for me.
Cause I can be bought, but you'll pay the cost
If you can afford me
If you want me, a cherry on top,
The pick of the peck, the crème de la crop
If you wanna ride, just name your price don't play cheap, with your heart
Don't make a bet if you can't write the check, for me, for me.
Cause I can be bought, but you'll pay the cost
If you can afford -
If you wanna ride, just name your price don't play cheap, with your heart
Don't make a bet if you can't write the check, for me, for me.
Cause I can be bought, but you'll pay the cost
If you can afford me
ANITA BITTON’S MODERN ESTABLISHMENT
Interview by Wayne Sterling
At just about the point where Harley Viera-Newton comes rumbling through the door of The Establishment Casting agency, a fabulous mass of brunette hair and vintage Robert Lee Morris jewelry, tottering on those high wire high heels only the really stylish girls can pull off, I start to wonder if it was all a set-up. Is it possible for any company to be so entrenched in all that is new and now and New York and still live?
In the two hours I had been chilling at the office, dozens of cool new New York androgynes had come running in and out. There had been a beautiful girl who looked a beautiful boy who happened to be the door person of the legendary Sugarland parties in Williamsburg. Then there was Shayne from Hood By Air peeking in shyly through the door. They were there for a casting for Love Issue # 2, a job Establishment’s proprietress, Anita Bitton was handling with great composure and a compelling brand of charisma. Midway through all that Ryan Korban, erstwhile interior designer and Edon Manor co-owner pops in to say hello.
Which leads me to conclude that it is not a set-up but rather the daily Downtown dealings of the life of Miss Bitton. Later, over a very long and languorous lunch at Cafe Select (a lunch so languorous that we ended up ordering dinner) we talked about Anita’s past, her passion, her casting aesthetic and her long time collaboration with the newly blue chip Alexander Wang. From young London model to an enviable position as one of New York’s most vital casting directors, it certainly was a captivating odyssey. Here’s Anita’s perspective on that journey
WS: OK Anita, from London girl about town to woman-in-the eye-of-the Downtown NY storm. How’d it all start?
AB: You have to realize this always felt like a dream world to me ..When I was 10 I had started modeling for a store called Mini Rock by Barbara Hulanicki on King’s Road and there was this girl called Lara Bobroff…We did these pictures and there was all this horror that young girls were made up. That’s how I started modeling. My parents would take me to the store and Saturday and I’d give out hats…I became incredibly inspired by the whole atmosphere..the store… Barbara…but I wasn’t good at being a model. I just didn’t feel comfortable with being looked at… but I loved the lights and the creativity… I liked being around it and I knew it was something I wanted to continue with in the future. For years I went on and off with modeling…I did catalogues… knitting patterns… but I went to drama school …and got kicked out of a number of schools … for a few years. I grew up in South London where we were just obsessed with magazines… music.. style.. movies. When I went to University and I got the opportunity to get some work experience I went straight to i-D magazine. I went in there on an internship and got to work with Edward Enninful. He had just arrived there as fashion editor and that was really my introduction to that world. I just loved it. He was incredible. We worked with a number of photographers…people like Craig Mcdean and Jeny Howarth among others. It was a really great time to be there but as a kid you don’t really know that. I was also interning at a PR company and then at night I’d go work at TGIF. So everyday I’d work in fashion and then at night, go to make some money. I was really, really driven because I didn’t come from a privileged background. While at University I’d write Club and band reviews for the north of England for i-D magazine. I really was one of those kids… I was just very ambitious. I didn’t know exactly what I wanted to do but I knew I wanted more… it was an adverse circumstance and I really didn’t want to be there. So when I got the job in New York it was like…. ah escape… I emailed a friend in New York. She worked at DNA Models . I had met her at a London agency called So Damn Tuff. So I said to her “I really want to move to New York. Do you know of anything” She happened to be leaving DNA to go work at Next at the Men’s division. She said well I think Next is looking for an assistant on the women’s board. Next flew me out here. I interviewed. I moved to New York two weeks later.
I was an assistant on the women’s board at Next. I worked with Faith (Kates) and Alexis (Borges). It was the time of Filippa (Hamilton), Tasha (Tilberg), Carolyn Park, Jan Dunning…. It was so fun. I would go to Milan and Paris and hang out with the girls. Georgina Grenville got her American Vogue cover. I LOVED it. I was there for a few years. Then I got a phone call from Ford. They were looking for someone to go and do their editorial and marketing stuff. I met with them.. I wasn’t really planning on leaving …but they made me such a great offer I couldn’t refuse. So I went to work on their editorial board. Katie Ford was such a good boss. I really loved working with her. Neal Hamil… Katie Ford… that was really a great job. It was one of my favorite life experiences ever. This is like in 1999. It was the time of Erin O Connor, Vivian Solari, Maggie Rizer, An Oost, Fanny, Delphine. It was that kind of Belgian cool from Ford… I loved it but it came to the point where I didn’t really didn’t want to be an agent anymore. I loved what I did. I loved working with people. I always likened my family situation to the Royal Tennenbaum’s. It was eclectic… and amazing… multi-cultural.. It still makes me giggle when I think about it. I went to work with Kevin Krier after I left Ford. I worked for him for while . We traveled to Milan and Paris, we worked on Gucci and YSL and Tommy Hilfiger and Hugo Boss in New York. I had a lot of difficulties… Kevin was very good to me… but I had to take a break. I had to get my act together. I think you get to a point where you have to make a decision. I had all these opportunities and all these angels around me and then I started working with Miles Aldridge. He was doing the Neiman Marcus advertising. …Then I got another opportunity to work on DKNY with Peter Lindberg. I felt so lucky. I kept getting opportunity after opportunity. I didn’t imagine ever being given those opportunities. Things like working with Irving Penn. That to me was unimaginable. That was the catalyst for my wanting to cast full time. I had a desk. I worked on 30th Street. I shared a space with Greg Kadel. He gave me the space. I always had angels. Then it became two desks. My friend Anna had a production company called AZ Productions then she was like… “Come and work here”… but clients don’t stick around if you don’t work for them. Then I got the opportunity to work with DKNY on the fold-out newspaper project.
AB: You have to realize this always felt like a dream world to me ..When I was 10 I had started modeling for a store called Mini Rock by Barbara Hulanicki on King’s Road and there was this girl called Lara Bobroff…We did these pictures and there was all this horror that young girls were made up. That’s how I started modeling. My parents would take me to the store and Saturday and I’d give out hats…I became incredibly inspired by the whole atmosphere..the store… Barbara…but I wasn’t good at being a model. I just didn’t feel comfortable with being looked at… but I loved the lights and the creativity… I liked being around it and I knew it was something I wanted to continue with in the future. For years I went on and off with modeling…I did catalogues… knitting patterns… but I went to drama school …and got kicked out of a number of schools … for a few years. I grew up in South London where we were just obsessed with magazines… music.. style.. movies. When I went to University and I got the opportunity to get some work experience I went straight to i-D magazine. I went in there on an internship and got to work with Edward Enninful. He had just arrived there as fashion editor and that was really my introduction to that world. I just loved it. He was incredible. We worked with a number of photographers…people like Craig Mcdean and Jeny Howarth among others. It was a really great time to be there but as a kid you don’t really know that. I was also interning at a PR company and then at night I’d go work at TGIF. So everyday I’d work in fashion and then at night, go to make some money. I was really, really driven because I didn’t come from a privileged background. While at University I’d write Club and band reviews for the north of England for i-D magazine. I really was one of those kids… I was just very ambitious. I didn’t know exactly what I wanted to do but I knew I wanted more… it was an adverse circumstance and I really didn’t want to be there. So when I got the job in New York it was like…. ah escape… I emailed a friend in New York. She worked at DNA Models . I had met her at a London agency called So Damn Tuff. So I said to her “I really want to move to New York. Do you know of anything” She happened to be leaving DNA to go work at Next at the Men’s division. She said well I think Next is looking for an assistant on the women’s board. Next flew me out here. I interviewed. I moved to New York two weeks later.
I was an assistant on the women’s board at Next. I worked with Faith (Kates) and Alexis (Borges). It was the time of Filippa (Hamilton), Tasha (Tilberg), Carolyn Park, Jan Dunning…. It was so fun. I would go to Milan and Paris and hang out with the girls. Georgina Grenville got her American Vogue cover. I LOVED it. I was there for a few years. Then I got a phone call from Ford. They were looking for someone to go and do their editorial and marketing stuff. I met with them.. I wasn’t really planning on leaving …but they made me such a great offer I couldn’t refuse. So I went to work on their editorial board. Katie Ford was such a good boss. I really loved working with her. Neal Hamil… Katie Ford… that was really a great job. It was one of my favorite life experiences ever. This is like in 1999. It was the time of Erin O Connor, Vivian Solari, Maggie Rizer, An Oost, Fanny, Delphine. It was that kind of Belgian cool from Ford… I loved it but it came to the point where I didn’t really didn’t want to be an agent anymore. I loved what I did. I loved working with people. I always likened my family situation to the Royal Tennenbaum’s. It was eclectic… and amazing… multi-cultural.. It still makes me giggle when I think about it. I went to work with Kevin Krier after I left Ford. I worked for him for while . We traveled to Milan and Paris, we worked on Gucci and YSL and Tommy Hilfiger and Hugo Boss in New York. I had a lot of difficulties… Kevin was very good to me… but I had to take a break. I had to get my act together. I think you get to a point where you have to make a decision. I had all these opportunities and all these angels around me and then I started working with Miles Aldridge. He was doing the Neiman Marcus advertising. …Then I got another opportunity to work on DKNY with Peter Lindberg. I felt so lucky. I kept getting opportunity after opportunity. I didn’t imagine ever being given those opportunities. Things like working with Irving Penn. That to me was unimaginable. That was the catalyst for my wanting to cast full time. I had a desk. I worked on 30th Street. I shared a space with Greg Kadel. He gave me the space. I always had angels. Then it became two desks. My friend Anna had a production company called AZ Productions then she was like… “Come and work here”… but clients don’t stick around if you don’t work for them. Then I got the opportunity to work with DKNY on the fold-out newspaper project.
WS: I am amazed at the level of enthusiasm you still have for your work. You’re not the least bit jaded.
AB: Every job makes me gasp still. I get excited still. There’s now a staff and an office …but… it’s still very exciting.
AB: Every job makes me gasp still. I get excited still. There’s now a staff and an office …but… it’s still very exciting.
WS: Is there such a thing in your mind as a star casting director ?
AB: I see myself as a facilitator. I’m not a star casting person. I think it’s a tough position to put yourself in. I think casting is very subjective and it’s a very tough thing to do… Take three different designers… any three… there’s going to be three sets of different requirements.. styling… hair and make-up is going to be very different things to the girls. Natasha Poly can give you those three different things that new girls can’t. So it’s sort of difficult to cast only new girls…So there’s no such thing as a star casting director… making stars… I like to base things on fact… I’ve been interviewed about my opinions on girls but I feel like.. does it matter what I think? It’s important what the designer thinks.. It’s important what the stylist thinks. My job is as the gatekeeper. We’re there to be a facilitator, an organizer of your fit models… your looks models.. We’ll bring you the five best girls for your needs… and if those don’t work… we go back and find another five. We get them there on time. We communicate with the agencies so you don’t have to deal with that stress… We can help guide you to making the best decision for your project but we don’t dictate.
AB: I see myself as a facilitator. I’m not a star casting person. I think it’s a tough position to put yourself in. I think casting is very subjective and it’s a very tough thing to do… Take three different designers… any three… there’s going to be three sets of different requirements.. styling… hair and make-up is going to be very different things to the girls. Natasha Poly can give you those three different things that new girls can’t. So it’s sort of difficult to cast only new girls…So there’s no such thing as a star casting director… making stars… I like to base things on fact… I’ve been interviewed about my opinions on girls but I feel like.. does it matter what I think? It’s important what the designer thinks.. It’s important what the stylist thinks. My job is as the gatekeeper. We’re there to be a facilitator, an organizer of your fit models… your looks models.. We’ll bring you the five best girls for your needs… and if those don’t work… we go back and find another five. We get them there on time. We communicate with the agencies so you don’t have to deal with that stress… We can help guide you to making the best decision for your project but we don’t dictate.
One Of The Boys LYRICS
I saw a spider
I didn't scream
'cause I can belch
The alphabet
Just double dog
Dare me
And I chose
Guitar over ballet
And I take
These suckers down
Because they just
Get in my way
The way
You look at me
Is kinda like
A little sister
You high five
Your goodbyes
And it leaves me
Nothing but blisters
[Chorus]
So I don't want to be
One of the boys
One of your guys
Just give me a chance
To prove to you tonight
I just wanna be
One of the girls
Pretty in pearls
Not one of the boys
So over the summer
Something changed
I started reading 17
And shaving my legs
And I studied
"Lolita" religiously
And I walked
Right into school
And caught you
Staring at me
'cause I know
What you know
But now you're gonna have
To take a number
It's OK
Maybe one day
But not until you give my
Diamond ring
[Chorus]
Cause I don't want to be
One of the boys
One of your guys
Just give me a chance
To prove to you tonight
I just wanna be
one of the girls
So pretty in pearl
Not one of the boys
I wanna be a flower
Not a dirty weed
And I wanna smell
Like roses
Not a baseball team
And I swear
Maybe one day
You're gonna
Wanna make out
Make out, make out
With me
(Don't wanna be)
Don't want to be
(Don't wanna be)
Don't want to be
(Don't wanna be)
[Chorus]
'cause I
I don't wanna be one
One
One of the boys
I just wanna be
one of the girls
So pretty in pearls
Not one of the boys
I didn't scream
'cause I can belch
The alphabet
Just double dog
Dare me
And I chose
Guitar over ballet
And I take
These suckers down
Because they just
Get in my way
The way
You look at me
Is kinda like
A little sister
You high five
Your goodbyes
And it leaves me
Nothing but blisters
[Chorus]
So I don't want to be
One of the boys
One of your guys
Just give me a chance
To prove to you tonight
I just wanna be
One of the girls
Pretty in pearls
Not one of the boys
So over the summer
Something changed
I started reading 17
And shaving my legs
And I studied
"Lolita" religiously
And I walked
Right into school
And caught you
Staring at me
'cause I know
What you know
But now you're gonna have
To take a number
It's OK
Maybe one day
But not until you give my
Diamond ring
[Chorus]
Cause I don't want to be
One of the boys
One of your guys
Just give me a chance
To prove to you tonight
I just wanna be
one of the girls
So pretty in pearl
Not one of the boys
I wanna be a flower
Not a dirty weed
And I wanna smell
Like roses
Not a baseball team
And I swear
Maybe one day
You're gonna
Wanna make out
Make out, make out
With me
(Don't wanna be)
Don't want to be
(Don't wanna be)
Don't want to be
(Don't wanna be)
[Chorus]
'cause I
I don't wanna be one
One
One of the boys
I just wanna be
one of the girls
So pretty in pearls
Not one of the boys
KATY PERRY LYRICS
[Kanye West - Verse 1]
I got a dirty mind I got filthy ways
I'm tryna bathe my eyy in your milky way
I'm a legend I'm irreverent I'll be reverend
I'll be so faaaaa-ar up
We dont give a fuuuh-uh-uck
Welcome to the danger zone
Step into the fantasy
You are not invited to the other side of sanity
They're callin me an alien a big headed astronaut
Maybe it's because your boy Yeezy get ass a lot
[Katy Perry]
You're so hypnotizing
Could you be the devil
Could you be an angel
Your touch magnetizing
Feels like I am floating
Leaves my body glowing
They say be afraid
You're not like the others
Futuristic lover
Different DNA
They don't understand you
Your from a whole other world
A different dimension
You open my eyes
And I'm ready to go
Lead me into the light
[Chorus]
Kiss me, kiss me
Infect me with your loving
Fill me with your poison
Take me, take me
Wanna be your victim
Ready for abduction
Boy, you're an alien
Your touches are foreign
It's supernatural
Extraterrestrial
You're so supersonic
Wanna feel your powers
Stun me with your lasers
Your kiss is cosmic
Every move is magic
You're from a whole other world
A different dimension
You open my eyes
And I'm ready to go
Lead me into the light
[Chorus]
Kiss me, ki-ki-kiss me
Infect me with your loving
Fill me with your poison
Take me, ta-ta-take me
Wanna be a victim
Ready for abduction
Boy, you're an alien
Your touches are foreign
It's supernatural
Extraterrestrial
[Kanye West - Verse 2]
I know a bar out in mars
Where they drive spaceships instead of cars
Cop a prada space suit about the stars
Getting stupid hah straight up out the jars
Pockets on shrek, rockets on deck
Tell me whats next? Alien sex.
Imma disrobe you
Then Imma probe you
See I've abducted you
So I'll tell you what to do
[Katy Perry]
Kiss me, ki-ki-kiss me
Infect me with your love and
Fill me with your poison
Take me, ta-ta-take me
Wanna be a victim
Ready for abduction
Boy, you're an alien
Your touches are foreign
It's supernatural
Extraterrestrial
Extraterrestrial
Extraterrestrial
Boy, you're an alien
Your touches are foreign
It's supernatural
Extraterrestrial
I got a dirty mind I got filthy ways
I'm tryna bathe my eyy in your milky way
I'm a legend I'm irreverent I'll be reverend
I'll be so faaaaa-ar up
We dont give a fuuuh-uh-uck
Welcome to the danger zone
Step into the fantasy
You are not invited to the other side of sanity
They're callin me an alien a big headed astronaut
Maybe it's because your boy Yeezy get ass a lot
[Katy Perry]
You're so hypnotizing
Could you be the devil
Could you be an angel
Your touch magnetizing
Feels like I am floating
Leaves my body glowing
They say be afraid
You're not like the others
Futuristic lover
Different DNA
They don't understand you
Your from a whole other world
A different dimension
You open my eyes
And I'm ready to go
Lead me into the light
[Chorus]
Kiss me, kiss me
Infect me with your loving
Fill me with your poison
Take me, take me
Wanna be your victim
Ready for abduction
Boy, you're an alien
Your touches are foreign
It's supernatural
Extraterrestrial
You're so supersonic
Wanna feel your powers
Stun me with your lasers
Your kiss is cosmic
Every move is magic
You're from a whole other world
A different dimension
You open my eyes
And I'm ready to go
Lead me into the light
[Chorus]
Kiss me, ki-ki-kiss me
Infect me with your loving
Fill me with your poison
Take me, ta-ta-take me
Wanna be a victim
Ready for abduction
Boy, you're an alien
Your touches are foreign
It's supernatural
Extraterrestrial
[Kanye West - Verse 2]
I know a bar out in mars
Where they drive spaceships instead of cars
Cop a prada space suit about the stars
Getting stupid hah straight up out the jars
Pockets on shrek, rockets on deck
Tell me whats next? Alien sex.
Imma disrobe you
Then Imma probe you
See I've abducted you
So I'll tell you what to do
[Katy Perry]
Kiss me, ki-ki-kiss me
Infect me with your love and
Fill me with your poison
Take me, ta-ta-take me
Wanna be a victim
Ready for abduction
Boy, you're an alien
Your touches are foreign
It's supernatural
Extraterrestrial
Extraterrestrial
Extraterrestrial
Boy, you're an alien
Your touches are foreign
It's supernatural
Extraterrestrial
ALEXANDER’S ARMY
(click the photo to see a full image)
The 40 faces of the Alexander Wang Fall/Winter 2010 line up (in their looks)
I Don't Wanna Talk About It Lyrics
I can tell by your eyes
That you've probably been crying forever
And the stars in the sky
Don't mean nothing to you they're a mirror
I don't wanna talk about it
How you broke my heart
If I stay here just a little bit longer
If I stay here won't you listen to my heart
My heart
If I stand all alone
Will the shadows hide the color of my heart
Will they be blue for the tears
Black for the nights we spent apart
And the stars don't mean nothing to you
They're a mirror
I don't wanna talk about it
How you broke my heart
Oh if I stay, if I stay here
Won't you listen to my heart
I don't wanna talk about it
How you broke my heart
If I stay, if I stay here just a little bit longer
If I stay here won't you listen to my heart
If I stand all alone
Will the shadows hide the colors of my heart
That you've probably been crying forever
And the stars in the sky
Don't mean nothing to you they're a mirror
I don't wanna talk about it
How you broke my heart
If I stay here just a little bit longer
If I stay here won't you listen to my heart
My heart
If I stand all alone
Will the shadows hide the color of my heart
Will they be blue for the tears
Black for the nights we spent apart
And the stars don't mean nothing to you
They're a mirror
I don't wanna talk about it
How you broke my heart
Oh if I stay, if I stay here
Won't you listen to my heart
I don't wanna talk about it
How you broke my heart
If I stay, if I stay here just a little bit longer
If I stay here won't you listen to my heart
If I stand all alone
Will the shadows hide the colors of my heart
The Man Who Can't Be Moved lyrics
Going back to the corner where I first saw you
Gonna camp in my sleeping bag, I'm not gonna move
Got some words on cardboard, got your picture in my hand
Saying if you see this girl can you tell her where I am
Some try to hand me money, they don't understand
I'm not broke I'm just a broken hearted man
I know it makes no sense, but what else can I do
How can I move on when I've been in love with you
'Cause if one day you wake up and find that you're missing me
And your heart starts to wonder where on this earth I could be
Thinking maybe you'll come back here to the place that we'd meet
And you'd see me waiting for you on the corner of the street
So I'm not moving
I'm not moving
Policeman says son you can't stay here
I said there's someone I'm waiting for if it's a day, a month, a year
Gotta stand my ground even if it rains or snows
If she changes her mind this is the first place she will go
'Cause if one day you wake up and find that you're missing me
And your heart starts to wonder where on this earth I could be
Thinking maybe you'll come back here to the place that we'd meet
[| From: http://www.elyrics.net/read/s/script-lyrics/the-man-who-can_t-be-moved-lyrics.html |]
And you see me waiting for you on the corner of the street
So I'm not moving
I'm not moving
I'm not moving
I'm not moving
People talk about the guy
Who's waiting on a girl, oh whoa
There are no holes in his shoes
But a big hole in his world
Maybe I'll get famous as the man who can't be moved
And maybe you won't mean to but you'll see me on the news
And you'll come running to the corner
'Cause you'll know it's just for you
I'm the man who can't be moved
I'm the man who can't be moved
'Cause if one day you wake up and find that you're missing me
And your heart starts to wonder where on this earth I could be
Thinking maybe you'll come back here to the place that we meet
Oh, you see me waiting for you on a corner of the street
So I'm not moving
('Cause if one day you wake up, find that you're missing me)
I'm not moving
(And your heart starts to wonder where on this earth I could be)
I'm not moving
(Thinking maybe you'll come back here to the place that we'd meet)
I'm not moving
(Oh, you see me waiting for you on a corner of the street)
Going back to the corner where I first saw you
Gonna camp in my sleeping bag, I'm not gonna move
...
i'm so addicted to this song! love it!
Gonna camp in my sleeping bag, I'm not gonna move
Got some words on cardboard, got your picture in my hand
Saying if you see this girl can you tell her where I am
Some try to hand me money, they don't understand
I'm not broke I'm just a broken hearted man
I know it makes no sense, but what else can I do
How can I move on when I've been in love with you
'Cause if one day you wake up and find that you're missing me
And your heart starts to wonder where on this earth I could be
Thinking maybe you'll come back here to the place that we'd meet
And you'd see me waiting for you on the corner of the street
So I'm not moving
I'm not moving
Policeman says son you can't stay here
I said there's someone I'm waiting for if it's a day, a month, a year
Gotta stand my ground even if it rains or snows
If she changes her mind this is the first place she will go
'Cause if one day you wake up and find that you're missing me
And your heart starts to wonder where on this earth I could be
Thinking maybe you'll come back here to the place that we'd meet
[| From: http://www.elyrics.net/read/s/script-lyrics/the-man-who-can_t-be-moved-lyrics.html |]
And you see me waiting for you on the corner of the street
So I'm not moving
I'm not moving
I'm not moving
I'm not moving
People talk about the guy
Who's waiting on a girl, oh whoa
There are no holes in his shoes
But a big hole in his world
Maybe I'll get famous as the man who can't be moved
And maybe you won't mean to but you'll see me on the news
And you'll come running to the corner
'Cause you'll know it's just for you
I'm the man who can't be moved
I'm the man who can't be moved
'Cause if one day you wake up and find that you're missing me
And your heart starts to wonder where on this earth I could be
Thinking maybe you'll come back here to the place that we meet
Oh, you see me waiting for you on a corner of the street
So I'm not moving
('Cause if one day you wake up, find that you're missing me)
I'm not moving
(And your heart starts to wonder where on this earth I could be)
I'm not moving
(Thinking maybe you'll come back here to the place that we'd meet)
I'm not moving
(Oh, you see me waiting for you on a corner of the street)
Going back to the corner where I first saw you
Gonna camp in my sleeping bag, I'm not gonna move
...
i'm so addicted to this song! love it!
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