You mustn't put the Sun in your mouth
She's the filthiest girl in the world
She gets really dirty when she sets in the south
Y'know, she can't help it she's a Chelsea girl
My father's house gave birth to a car
That could burrow like a mole underground
It woke up the neighbors when it cried in the night
Y'know, baby cars can make an awful sound
Medusa turned her banker to stone
And she pilfered the keys to his car
She's driving cross country, but wherever she goes
She turns worthless people into modern art
Just like that
Many thanks once more to Mr. Nick David for amending my original transcription of these lyrics.
I adore this song. I have from the moment I first heard that jangly guitar intro and the fun little splat of a guitar before Stephin's last utterance of the word "amnesia" so many years ago. I think its surrealist imagery lends itself more toward Susan Anway-era Magnetic Fields and I'd love to hear "Kings" fade out and for this song to emerge, but I'm magnanimously grateful for the skeletal version that does exist. It provides a strange context for a period of The Magnetic Fields' career that I have unfortunately only been able to read about as opposed to truly having experienced it.
Stephin Merritt, of course, disagrees with all of my bullshit. Quoth Chickfactor magazine:
"I recently downloaded, from disgusting evil website n*****r, a crummy bootleg recording of an embarrassingly awful live performance of an unreleased song of mine, labeled without any indication it wasn't from a record. This is going out all over the world, under my name, and there seems to be nothing I can do about it. I have spontaneously performed works in progress for my audience when it seemed appropriate, prefaced by a little apology spiel, but for someone to just steal that, take it out of context, and put it up on the web is a real, major betrayal. It has done such damage to my relations with audiences-my sense of trust is shattered-that I can't perform unreleased songs anymore."
This gives the song so much more history and effect, I think. Of course, one can hardly find reason to disagree with Mr. Merritt here (and one now understands why I have yet to link to a mp3 of the song), but it is a shame that he is embarrassed by it so. I understand that their live shows at the time might not have felt conducive to proper reproductions of his songs (though, all the boots I've heard/seen have been lovely), but I will always find "Amnesia" to be a wonderfully pleasant song. For the breech of trust, I am sincere in my apology to Mr. Merritt, but selfishly happy for the song's existence.
Also, while you're here, go read this review of Strange Powers: Stephin Merritt and The Magnetic Fields!