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The Lost Boys (Original Broadway Cast Recording) album cover by Benjamin Pajak & Original Broadway Cast of The Lost Boys

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2026 · From the album The Lost Boys (Original Broadway Cast Recording)

Superpower

by Benjamin Pajak & Original Broadway Cast of The Lost Boys

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02:55 Runtime

The reading

A bilingual invitation to stop waiting for permission and dance your way into collective belonging

02 · Interpretation

Superpower: The Lost Boys' Bilingual Call to the Dance Floor

E Editorial Desk

The song is a bilingual rallying cry: stop waiting for the world to hand you back a life, and step into a room where everyone gets to belong. It reads less like a private confession and more like a group number, which fits its home on the cast recording of The Lost Boys.

From the first bar, the track sets up a call and response between English imperatives and Japanese conversational lines. The English side barks the mission ("Come on and get that superpower"), while the Japanese side describes the setting and the etiquette of the room: if you dance here, it's your turn; if you come here, you're welcome, whoever you are. That code-switching is the song's central move. It isn't decorative; it stages the idea of an inclusive space by literally speaking in two registers at once.

The hook's "superpower" is deliberately unglamorous. There's no flight, no fire, just permission. The chorus insists that everything needed is already in the room, and closes with the phrase "learn to fly," reframing flight as something learned collectively (共に行こう, "let's go together") rather than granted. Alongside that runs a refusal of exclusion: そう no one left behind. For a musical whose title evokes children who slipped through the cracks, that line does a lot of work.

The verses lean into casual coaxing. "Roll with it" alternates with Japanese lines about trying something new sometimes and going out to play, nudging a reluctant listener toward motion. The bridge into the pre-chorus is more pointed. The song names a common paralysis: everybody is waiting around for the new normal, waiting for the day everyone can smile again. The response is impatient but not unkind: change the scenery first, my friends; the talk can come after. Trying our best. We gotta dance.

That framing places the song squarely in the shadow of the early-2020s vocabulary of "the new normal," and it pushes back against it. Rather than wait for conditions to be safe or settled, the lyric argues, do the human thing now: gather, move, share a drink (飲み干して, drain the glass; "throwing it back").

The second verse turns philosophical for a moment, and it's the song's most interesting stretch. No one has a guaranteed future, so before you do something reckless, wait. Life is a simulation game, so stop blaming yourself. The comparison is generationally specific, a video-game metaphor deployed to defuse guilt: if this is a run, you can learn from it. The offhand "Feeling like a Jameson" and "Down to earth" lines keep the register loose, resisting sermon. The payoff, もう全ては繋がってそう, suggests everything already feels connected, which loops back to the chorus's insistence that what you need is here.

Context on the cast recording

The Lost Boys arrives on Broadway adapting the 1987 vampire film, and this track sits inside that world as, apparently, an ensemble number sung by a company that includes Benjamin Pajak. Without over-reading the plot, the song's themes map neatly onto the source material's central seduction: a group offering belonging, night, and abandon to an outsider. Where the film treats that offer as a trap, the musical (on the evidence of this number) reframes it as something more ambivalent and communal, a genuine invitation to a dance floor where no one is turned away. Whether the show ultimately endorses that offer or complicates it is a question for the full score.

Why it lands

As a standalone listen, Superpower works because it never oversells its own uplift. The Japanese lines keep the tone conversational and specific, the English hooks keep the momentum, and the "waiting around / we gotta dance" pivot gives the song a clear argument rather than a mood. It is a musical-theatre number that trusts a pop chorus to carry a thesis: agency is small, present-tense, and shared.

Themes catalogued

belonging collective agency post-pandemic malaise bilingual identity invitation

03 · Lyrics

"Superpower"

Come on and get that superpower

ここで踊れば your turn

飲み干して throwing it back

All we need is right here

Get that superpower

ここへ来れば whoever

そう no one left behind

共に行こう learn to fly

Roll with it

たまにはどうよ

Roll with it

遊んでいこうよ

もういいっていうほど

好奇心を let it go

Pull up to my place yeah

普段見ないペースで

You gotta get yours

I gotta get mine

We gotta get ours

Everybody's waiting around

For the new normal

誰もが笑顔を取り戻せる日を

話はそれからと

景色を変えよう my friends

Trying our best

We gotta dance

Come on and get that superpower

ここで踊れば your turn

飲み干して throwing it back

All we need is right here

Get that superpower

ここへ来れば whoever

そう no one left behind

共に行こう learn to fly

確かな future は

誰にもないし

だから無茶なんてする前に (wait!) Wait!

人生はシミュレーションゲームさ

だからやめようや blaming yourself

Oh lookin' up & go

Down to earth な

Feeling like a Jameson

もう全ては繋がってそう

Everybody's waiting around

For the new normal

誰もが笑顔を取り戻せる日を

話はそれからと

景色を変よう my friends

Trying our best

We gotta dance

Come on and get that superpower

ここで踊れば your turn

飲み干して throwing it back

All we need is right here

Get that superpower

ここへ来れば whoever

そう no one left behind

共に行こう learn to fly

Everybody's waiting around

For the new normal

誰もが笑顔を oh

We can learn to fly

Come on and get that superpower

踊れば your turn

Get that superpower

そう no one left behind

共に行こう learn to fly

Lyrics via Google. Copyright belongs to rights holders.

04 · FAQ

Frequently asked

What does 'superpower' actually mean in the song Superpower?
It's not a literal ability but a stand-in for agency and permission. The chorus reframes the superpower as showing up, dancing, and including everyone (そう no one left behind), then learning to fly together rather than alone. The point is that the power is ordinary and collective, not heroic.
Why does Superpower switch between English and Japanese?
The bilingual writing enacts the song's own message about an open room. English carries the imperatives ("Come on and get that superpower"), while Japanese lines describe the space and the etiquette (ここで踊れば your turn, ここへ来れば whoever). The code-switching itself performs the inclusion the lyric argues for.
What is the 'new normal' line in Superpower referring to?
The phrase echoes the vocabulary that emerged around the early-2020s pandemic era. The song pushes against the posture of waiting for that new normal to arrive, arguing instead to change the scenery now (景色を変えよう my friends) and dance before conditions feel perfect.
How does Superpower fit into The Lost Boys Broadway musical?
It appears on the Original Broadway Cast Recording of the stage adaptation of the 1987 vampire film, performed by an ensemble that includes Benjamin Pajak. Thematically, its invitation into a shared nocturnal space ("no one left behind," "共に行こう learn to fly") maps onto the source story's central seduction of an outsider by a group.
What does the 'life is a simulation game' section in Superpower mean?
In the second verse, the lyric acknowledges that no one has a certain future, then reframes life as 人生はシミュレーションゲーム, a simulation game, so "stop blaming yourself." It's a generational metaphor that treats missteps as runs you can learn from, defusing guilt without ignoring uncertainty.
Why does Superpower keep repeating 'learn to fly'?
The phrase gets paired with 共に行こう ("let's go together"), which converts flight from a solo feat into something practised as a group. In a show called The Lost Boys, where flight is a loaded image, framing it as learned and shared reads as a deliberate softening of the myth.
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