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      For Jesse, for making me feel this way

      Everybody looks alike

       and acts alike,

       and we’re getting more

       and more that way.

      I’VE GOT TO TELL YOU

      I’m talking Cause I really

       can’t tell me are you grey

       Say Cause I really Tell me

       I’m not

       If I can’t tell I hope I’m talking

       listen Cause I really need Tell me are you

      really Tell me are you lonely

       I’m not And Is it wet, Is it Cause

       If I If I

       can’t tell you’re real I hope that we’ll Oh

       Boy see I shouldn’t let you but

       Won’t you If you tell you know

       Cause I really Tell me are

      you that somebody Cause I’m

       not but just Say yes You

       can’t tell me Are you

       talking you shouldn’t but if I

       if I let you go We talk

       But don’t know see if I promise you then

      Can you

      SUNSHINE HONEY

      I’ve got yes. I’ve got this. I’ve got anxious. I’ve got

       serenity. I’ve got our existence. Of course disarray never

       included us. I’ve got sunshine. I’ve got an occupying

       attention. I may refer to, must inherently. I’ve got any. I’ve

       got any compulsive relationship, Sunshine.

      Sunshine on a cloudy day, on a method. On expressed or

      implied. Not a thing or a person. On a cloudy day it will

      never be morning. On it. Cloudy in the way that we do

      this. Cloudy day talking, better for us. I’ve got one sexual

      method, described by forms of histories, of aesthetics.

      When made present. When it’s by the explicit. When it’s

      cold, that relentless energy outside their excesses of sex.

      Outside their lives. It’s cold outside and when it’s linked.

      When it’s the trembling cold outside the world.

      I’ve got the month. I may by relentless excesses present

      the explicit. I’ve got their lives of us. The month of method

      and talking. The month of this it. Of course their energy

      would. The month it were day. I must refer. I’ve got disarray.

      May inherently. I’ve got the month to do a thing described.

      I guess, or person. I guess sex. I guess an expressed or

      implied relationship. You’d say very compulsive. I guess

      histories. I guess any form of sexless method. You’d say

      not occupying I guess attention. You’d say that never

      included us.

      What could make this aesthetics. What could make me feel

      that. Make me many. Make me better. What could make me

      sexless and sexual. Make me feel we. Make me feel made.

      Make me feel us. Make me feel matter. Make me feel this,

      for one. What could make me feel this commotion, this

      relationship to energy. What could make me feel this way.

      I’ve got so much occupying. I’ve got a thing or person. I’ve

      got so much inherently. Not histories, never expressed or

      implied. I’ve got relentless. Honey, in the way. So much

      that an attention to forms. I’ve got so much disarray. I’ve

      got so much talking. I’ve got so much excesses. Honey

      included many of us. Honey, of course I’ve got that. I’ve

      got compulsive, got so much sexual.

      The bees envy us. The bees of any sex. The bees of any

      means. The bees of any method. One made a matter of their

      lives. May, for us and for envy. Method and present. We do

      this better. The bees, sexless. It was Monday night. The

      bees, aesthetics, me.

      I’ve got described. I’ve got the explicit. I’ve got the same

      state of trepidation. A sweeter song might be suffering,

      described by their energy. I’ve got a relationship. A sweeter

      song must refer, occupying anything. A sweeter person or

      sex, inherently that us. Sweeter, it pleases me. I’ve got all

      the forms of not.

      Sweeter than the histories, than this relentless sexual

      aesthetics. Than never. The birds included to matter. The

      birds, a one, many of us. Expressed or implied excesses.

      The birds talking. The way that an attention may present the

      trees by disarray. In the trees, any method, the birds. In the

      trees, we do.

      Well, I guess very compulsive. I guess for us. Well, I guess

      and for their explicit lives. I guess the