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The sound alone will make me move along,
This thing speaks, you’re often on,
The sound alone, yeah, yeah.
All the song now,
The hiding measure, you won’t get them
And when you’re down you’re down all bound,
The crazy town, all way down.

If you last long the warning hound,
The warning down, you’re all, yeah,
The fregging down, they soothe my neck,
The fregging town, it’s all down,
This walking all around,
This walking all through town.
Won’t you laugh?

It’s Monday while I write
And better ever laugh alright.
Do no lie just all life,
Better ever laugh alright that.
What time, just my life
Is ever hanging out of the day.
A better life, it’s all I like,
It’s better walking all around.

Ever back, it’s all, it’s all alive,
Ever back, it’s all, it’s all alive.

Forget one life, it’s all their life,
We make you people all laugh.
Forget one life and parts he correct,
Forget it and support all parts of life.
Supporting one life is just breaking time,
The magic’s better all alone,
Just falling alone, the threshold of life,
Living’s taking all of my morning life.

Back, it’s all, it’s all going in my pocket,
Back, it’s all the morning of my life.

All string,
It’s all and now
Laying down to the ground.
Is it a mind or is it a grawl?
For it’s all sense, it’s all
Or is it a game,
Or is it a game?

It’s just in, he’s just tall,
I wouldn’t laugh.


Lyrics submitted by Songmeaningsuser

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  • +1
    General CommentI totally dig this song from one of CAN's best albums. You could write a whole book on any CAN song. I don't know why no one has commented on this song yet.

    This song's Frankenstein-esque "epilogue" builds up magnificently to the climactic narrative part, which I consider the equivalent to the extremely experimental tracks of Tago Mago, "Aumgn" and "Peking O", in the sense that they reject a sense of rhythmic melody in place for abstract nonsensical vocalization. They invent their own abstract expressive language in the same manner as Sigur Ros, only Suzuki uses the overt tone of his expressive voice rather than the sound of the words to express the emotion. (And who better to do that than the amazing Damo Suzuki!) The use of unique percussion and abrasive synths is also similar to the counterpart songs in Tago Mago.

    But if any of you have heard CAN's album, Unlimited Edition, which has all their early b-side tracks, you'd know from their E.F.S (ethnilogical forgery series) tracks that the band was very interested in World music of indigenous cultures (understandably so, and you can definitely hear it in their eclectic range of percussion instruments). For example, a Brazilian influence can be seen in CAN's Peking O, when a bossa-nova/samba section begins to appear about 2:36 min into the song. But with a Japanese member in the group, Damo Suziki, there is quite a bit of influence in Japanese folk music. You can hear it in in this song, which sounds like a modern reproduction of traditionaly Japanese war music which uses similar theatrics and drum techniques. Aumgn, though slightly more deranged, has a similar sound, evocative of the summoning of Kami spirits from Japanese mythology.

    Though their music may sound "strange" to those not used to it, I wouldn't necessarily label CAN's music as "druggy" as so many people often stereotype. Their "strange" sound is probably more the result of an influence from non-Western cultural music that sounds foreign to us, rather than from the surreal dreams of acid trip. However, that's just my opinion, and if they were inspired by drugs, that wouldn't make the music any less enjoyable.
    Phrogexon January 02, 2008   Link

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