someone's knockin on my kitchen door
leave the wood outside, what
all the girls here are freezing cold
leave me with your borneo
i don't need much to keep me warm

don't stop now what you're doing
what you're doing my ugly one
bring them all here
hard to hide a hundred girls in your hair
it won't be fair if i hate her
if i ate her
you can go now

you're already in there
i'll be wearing your tattoo
you're already in there

got a cloud sleeping on my tongue
he goes then it goes
and kiss the violets as they're waking up

leave me with your borneo
leave me the way i was before

you're already in there
i'll be wearing your tattoo
i'm already in circles and circles and circles again
the girl's in circles and circles got to stop spinning
circles and circles and circles again
thought i was over the bridge now



"..there's a wonderful acceptance in Cloud On My Tongue, an acceptance of being in circles and circles again. That's its whirlpool vat. It all leads to that. --I travel a lot around the world, and I went to all sorts of places, and I ran in to different people. Borneo had something that I didn't have. It was a very free, hot, jungly place, and the people that, or a person that came from there, had something that I didn't have that I desperately wanted, which was this no rigidity. When I say Leave the wood outside, what, all the girls here are freezing cold, leave me with your Borneo...Or don't leave me with your Borneo, because I've had it before, and that's why I need the wood, because it just -- you can go now, you're already in there, whether it's pregnant or whether it's just infused. You don't even have to hang around and watch me disintegrate, because you've already done your job. You've already accomplished what you wanted, which was another scalp on your belt, and you did it. That's not one of my more favorite men songs."
-- Tori; The Baltimore Sun, 1994