You walked into the party like you were walking onto a yacht
Your hat strategically dipped below one eye
Your scarf it was apricot
You had one eye in the mirror as you watched yourself gavotte
And all the girls dreamed that they’d be your partner
They’d be your partner, and….
You’re so vain, you probably think this song is about you
You’re so vain, I’ll bet you think this song is about you
Don’t you? Don’t you?
You had me several years ago when I was still quite naive
Well you said that we made such a pretty pair
And that you would never leave
But you gave away the things you loved and one of them was me
I had some dreams, they were clouds in my coffee
Clouds in my coffee and….
You’re so vain, you probably think this song is about you
You’re so vain, I’ll bet you think this song is about you
Don’t you? Don’t you?
Well I hear you went up to Saratoga and your horse naturally won
Then you flew your Learjet up to Nova Scotia
To see the total eclipse of the sun
Well, you’re where you should be all of the time
And when you’re not you’re with
Some underworld spy or the wife of a close friend
Wife of a close friend, and….
You’re so vain, you probably think this song is about you
You’re so vain, I’ll bet you think this song is about you
Don’t you? Don’t you?
“You’re So Vain” by Carly Simon is more than just a song; it’s a cultural touchstone, instantly recognizable and endlessly debated. Released in 1972, this iconic track dissects the ego and self-absorption of a nameless, yet unforgettable, individual. The lyrics paint a vivid picture of someone captivated by their own image, moving through life with an almost comical level of self-importance.
The song’s brilliance lies in its lyrical wit and the catchy repetition of the chorus. Simon masterfully uses specific, almost cinematic details – the yacht-like entrance, the apricot scarf, the Learjet to Nova Scotia – to build a portrait of extravagant vanity. The genius of “You’re So Vain” also resides in its lingering mystery: the identity of the subject has remained a source of speculation and intrigue for decades, adding to the song’s enduring appeal and cementing its place in music history as a definitive exploration of narcissism set to melody.
Piano: Carly Simon
Bass: Klaus Voormann
Drums: Jim Gordon
Guitar: Jimmy Ryan
Percussion: Richard Perry
Strings arr. by Carly Simon, orchestrated by Paul Buckmaster
© 1972 Quackenbush Music Ltd., ASCAP
