Warren wanted a Beach Boys thing for this one, and Carl Wilson and Billy Hinsche came in, with Carl arranging the vocal parts. The other harmony vocalists (credited as the "Gentlemen Boys") were Jackson Browne, J.D. Souther, Zevon's longtime backers Waddy Wachtel and Jorge Calderon, and Linda Rondstadt/Stone Poneys guitarist Kenny Edwards.
This is the age of machinery
A mechanical nightmare
The wonderful world of technology
Napalm hydrogen bombs biological warfare
This is the twentieth century
But too much aggravation
It's the age of insanity
What has become of the green pleasant fields of Jerusalem
Ain't got no ambition
I'm just disillusioned
I'm a twentieth century man but I don't want, I don't want to be here
My mama said she can't understand me
She can't see my motivation
Just give me some security
I'm a paranoid schizoid product of the twentieth century
You keep all your smart modern writers
Give me William Shakespeare
You keep all your smart modern painters
I'll take Rembrandt, Titian, Da Vinci and Gainsborough
Girl we gotta get out of here
We gotta find a solution
I'm a twentieth century man but I don't want, I don't want to die here
Girl, we gotta get out of here
We gotta find a solution
I'm a twentieth century man but I don't want, I don't want to be here
I was born in a welfare state
Ruled by bureaucracy
Controlled by civil servants
And people dressed in grey
Got no privacy, got no liberty
'Cause the twentieth century people
Took it all away from me
Don't want to get myself shot down
By some trigger happy policeman
Gotta keep a hold on my sanity
I'm a twentieth century man but I don't want to die here
My mama says she can't understand me
She can't see my motivation
Ain't got no security
I'm a twentieth century man but I don't want to die here
I don't want twentieth century, man
I don't want twentieth century, man
I don't want twentieth century, man
I don't want twentieth century, man
This is the twentieth century
But too much aggravation
This is the edge of insanity
I'm a twentieth century man but I don't want to be here
A mechanical nightmare
The wonderful world of technology
Napalm hydrogen bombs biological warfare
This is the twentieth century
But too much aggravation
It's the age of insanity
What has become of the green pleasant fields of Jerusalem
Ain't got no ambition
I'm just disillusioned
I'm a twentieth century man but I don't want, I don't want to be here
My mama said she can't understand me
She can't see my motivation
Just give me some security
I'm a paranoid schizoid product of the twentieth century
You keep all your smart modern writers
Give me William Shakespeare
You keep all your smart modern painters
I'll take Rembrandt, Titian, Da Vinci and Gainsborough
Girl we gotta get out of here
We gotta find a solution
I'm a twentieth century man but I don't want, I don't want to die here
Girl, we gotta get out of here
We gotta find a solution
I'm a twentieth century man but I don't want, I don't want to be here
I was born in a welfare state
Ruled by bureaucracy
Controlled by civil servants
And people dressed in grey
Got no privacy, got no liberty
'Cause the twentieth century people
Took it all away from me
Don't want to get myself shot down
By some trigger happy policeman
Gotta keep a hold on my sanity
I'm a twentieth century man but I don't want to die here
My mama says she can't understand me
She can't see my motivation
Ain't got no security
I'm a twentieth century man but I don't want to die here
I don't want twentieth century, man
I don't want twentieth century, man
I don't want twentieth century, man
I don't want twentieth century, man
This is the twentieth century
But too much aggravation
This is the edge of insanity
I'm a twentieth century man but I don't want to be here
Lyrics submitted by planetearth
20th Century Man Lyrics as written by Ray Davies
Lyrics © BMG Rights Management
Lyrics powered by LyricFind
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Like a lot of the other comments are saying, I think this mainly about voyeurism. If the song was about his girlfriend, then why would he use the word spy. If you are a spy it means you shouldn't be caught, that is kind of the whole point, and if you are a voyeur, the whole point of the pleasure you get from it, is the fact that the other people don't know you are watching them. See a bit of a connection there?
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The chorus offers a glimmer of optimism and a chance at a resolution and redemption in the future.
Captures the rollercoaster of emotions of feeling lost while loving someone who is not there for you, feeling let down and abandoned while waiting for a lover. Lost with no direction, "Now I'm up in the air with the rain in my hair, Nowhere to go, I can go anywhere"
The bridge shows signs of longing and a plea for companionship. The Lyrics express a desire for authentic connection and the importance of Loving someone just as they are. "Just in passing, I'm not asking. That you be anyone but you”
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Holiday
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@[Diderik:33655] "Your a holiday!" Was a popular term used in the 50s/60s to compliment someone on their all around. For example, not only are they beautiful, but they are fun and kind too ... just an all around "holiday".
I think your first comment is closer to being accurate. The singer/song writers state "Millions of eyes can see, yet why am i so blind!? When the someone else is me, its unkind its unkind". I believe hes referring to the girl toying with him and using him. He wants something deeper with her, thats why he allows himself to be as a puppet (even though for her fun and games) as long as it makes her happy. But he knows deep down that she doesnt really want to be serious with him and thats what makes him.
Makes me wonder what Ray thinks of the world now that the digital age is here. The internet, social networking, iPods, cell phones. And he thought the 70s were bad. Ray's generation were the first ones to have to deal with life as we know it now, in fact people's every day lives and culture were radically different before and after WW2 (to a degree I can not even fathom). Advertising, television, radio, popular music, interstate highways, affordable automobiles, the rise of the cities and fall of the country, even suburbs and housing developments. Wasn't happening before the Boomers came to be. How many times a day do you hear music? (all day long, right? how weird is that? imagine if you had to rely on [expensive] records and stereo systems. or before the '50s when hardly anyone listened to recorded music and had to hear it live) How many times a day do you see an advertisement? Travel more than 3 miles from your home? Purchase a product made by a corporation worth billions of dollars and is available everywhere? It must have driven some people crazy having to deal with all of these changes at once, the modernization of the western world. People used to have quiet, simple lives, until the last 50 years. Anyway that's what Ray is on about. If you like when he covers this theme in Kinks songs then definitely check out Grandaddy, especially the album Sophtware Slump, it picks up where this song leaves off and is completely awesome.
This song deserves to have a whole bunch of comments. Muswell Hillbillies is a pretty good album, but this first song is incredible. This is one of the best portrayals of modern day fatigue and weariness, the absurdity of war, the onslaught of technology and the loss of humanity and everyday emotion that I've heard. It's about how the hustle and bustle of this day and age swallows the individual. You lose your ambition, your privacy, your liberty. People are aggravated and disturbed by the loss of empathy and the rise of war and technology. The quainter times are lost and desperation sets in.
That's what I get from these lyrics. A sense that time is swallowing up your soul and you're losing in the insanity of modern times. I'd very much like to cover this song. It's a powerful social comment on the flaws of modern living and the fragility of the human condition. It's about the abuse of power and resources to crush the individual.
'I was born in a welfare state Ruled by bureaucracy Controlled by civil servants And people dressed in gray'
This song is amazing.
mrpieeater pretty much spoke my mind. I also can't beleive more ppl don't comment on this song, it's addictive as hell.
I also love the guitar in this song. It's unique sounding and is a good exmaple of how versatile their sound is.
I saw this live in Brighton a couple of years ago at a Ray solo show, so glad he played it, I was massively into this album at the time, and he also played Oklahoma, USA :o)
I just love the Englishness of The Kinks, they've got this great blues riff going on, played with so much rock and roll passion, yet he's singing about going back to previous times, "I'll take Rembrandt, Da Vinci, Titian and Gainsborrrrooooooouuuuuugh!"
Such a great riff, and great fun to play on guitar too (always the sign of a good song), and the bridge section is just beautiful, neither major or minor to start, just kind of dissolves into a feeling of numbness at how modern life has dragged him down continually, then slips into a minor key with "Got no privacy, got no liberty..." before rocking back into the riff for the final push.
One of the all-time great opening tracks on any album, you have to give it a listen.
he accomplishes more lyrically in this ONE SONG than thom yorke has done in HIS ENTIRE CAREER
@spmuzik I agree somewhat, but they're two very different lyricists. Yorke relies more on innovative symbolism and metaphors and Ray is much more literal and personal.
@spmuzik Well Ray Davies is the “father of Britpop”, but also the Kinks practically invented punk rock and lyrics that were about fighting back against the system. So every punk, post-punk, and alternative band (like Radiohead) are basically indebted to the Kinks
If this song strikes a chord, then Other Peoples' Lives will also. The themes return again and again with Ray and Dave, and they always seem fresh, with a new twist and even a tip of the hat to others whose voices have been added to those critical of the dehumanizing and depersonalizing trend of 21st Century society.