| ABBA – The Day Before You Came Lyrics | 1 year ago |
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@[discobiscu:46004] Chinese takeout takes maybe 15-30min, max, to order and grab. She gets to her front door with it right around 8 pm. Telling the cop that time was her one mistake that instantly revealed the false alibi she gave him for the prior afternoon and evening. BOOM. Her alibi was terrible and unconvincing as hell, overselling and full of Freudian slips, but it just needed some ultra simple reasoning/math remembered from her earlier oral alibi that nailed her for murder. The song is so dark, tense, and somber in tone, ending with the singer’s realization she just screwed up royally and the cop noticed. She’s going to prison for decades for this. And she almost got away but for one small mistake with the cop. |
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| ABBA – The Day Before You Came Lyrics | 1 year ago |
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Love this song, but it took me a minute to figure out the plot: The singer killed someone the day before, on her lunch break, and moved the body to be found in a way and place less likely to be linked to her. The singer is describing the day before the cop came to question her about the dead body they’d found that morning with ties to her and get her alibi. That’s why she’s so detailed about her timeline at the start and finish, why she tells the cop that after lunch she had so much work going on she hid from everyone in her office until quitting time at 5 pm when she left for her usual train ride home. That murder was why she was suddenly chain smoking after lunch but none before, why she stayed outside in the downpouring rain for so long she didn’t know how long her hands had been blue; she had to drag the body a ways to get it in a temporary hide y hole where to best dump the body after the sun started to set, the rain stopped, and the 5 pm commuter train full of wandering eyes left the city. There are loads of barely-nothing odd choices of words, double-meanings, etc, for most of her alibi narration. But I wasn’t sure until I realized what the cop definitely did quicker than me: Her morning commute from house front door to office desk took 1hr 15min total. She stresses go the cop that she didn’t alter her usual commute home last night, but left right at 5 pm to catch the usual train back home. That was her normal, had been for years she said, and she didn’t alter it last night. Specifically, she tells the cop she left the office at 5 pm, caught her usual train, and walked home only stopping for Chinese takeout at a place on her way. Then she screwed up, adding she arrived at her front door with her food right around 8pm. Home sweet home. That’s where the cop remembers her 1hr15min morning commute and realizes— she didn’t catch her usual train home, and she never went back to the office after her lunch break. Her usual commute home last night, however, somehow took her 3hrs, leaving 1hr 45min of unaccounted-for time (make that 1hr 30min to account for the Chinese takeout stop on her walk home) she had directly lied to him about having had at all, lying that she caught her usual train after leaving the office for it at her usual 5 pm, got Chinese to-go walking home from the train, then arrived home like normal. The song heavily implies she killed someone on her lunch break, hid the body the rest of the workday (not returning to her office), then got rid of the body in a way that didn’t point at her when it started to get dark, stop raining, and the first commuter train out was gone along with all its curious eyeballs. She took the next commuter train home, one hour later than usual, so leaving just after 6pm. Her commute from office to home front door takes 1hr 45 min. |
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| Dar Williams – The Ocean Lyrics | 1 year ago |
| It’s always meant she has an innocent, fresh, healthy relationship with getting to live briefly near such a powerful and beautiful bit of nature, an ocean. It’s so exciting and novel and invigorating for her. She recognizes that her newfound love for the ocean is possibly distancing to her partner who lives here, who doesn’t become energized on the shore as she does, and she tries to sweetly find common ground, thinking he finds her infatuation with the ocean shore too much. Instead, he tells her it’s rejuvenating to watch her engage with the landscape with such joy and enthusiasm. He and the other townspeople live their ordinary lives and go about their daily work, inured to the freshness and power of the ocean in their lives. They find no pleasure there. She does, great, deep, simple, enthusiastic pleasure and it’s so delightful for him to see. She doesn’t realize how precious it is to be around someone able to feel the spark and energy of the ocean everyone else ignores or sees as nothing special. It’s special to her, and that lets him have access to those emotions back through her experience of them. It’s beautiful. | |
| The Horrible Crowes – Black Betty & The Moon Lyrics | 1 year ago |
| @[xheartbreakerx:45990] Love when the furious transition hits from the more resigned tone. He knew what would happen to someone new in his world, he warned her against the rapacious busybodies waiting in the shadows, but she didn’t get it immediately, didn’t see the trap, fell into it, and the trust in their relationship was shattered for good. Sucks. Horrible for all involved. But it recognizes that sometimes there’s no recovery and redemption able to be offered— sometimes your heart just can’t stand certain hurts, certain betrayals. He knew he wouldn’t be able to, tried to tell her, but she wasn’t part of that world and couldn’t see the threat coming before it was too late. | |
| The Horrible Crowes – Black Betty & The Moon Lyrics | 1 year ago |
| @[xheartbreakerx:45989] Love when the furious transition hits from the more resigned tone. He knew what would happen to someone new in his world, he warned her against the rapacious busybodies waiting in the shadows, but she didn’t get it immediately, didn’t see the trap, fell into it, and the trust in their relationship was shattered for good. Sucks. Horrible for all involved. But it recognizes that sometimes there’s no recovery and redemption able to be offered— sometimes your heart just can’t stand certain hurts, certain betrayals. He knew he wouldn’t be able to, tried to tell her, but she wasn’t part of that world and couldn’t see the threat coming before it was too late. | |
| The 1975 – Me and You Together Song Lyrics | 2 years ago |
| Lovely feeling this song leaves you with, like being lifted up on a swell of pure fondness. \n\nIt\'s a song about unrequited love back when you were too young to be bitter about feeling it. | |
| The 1975 – It's Not Living (If It's Not with You) Lyrics | 2 years ago |
| It\'s a song about two people who are both abusing substances. The guy whose perspective we get lets us know that he\'s using substance abuse as a way to avoid thinking about the person he\'s in love with who doesn\'t love him back. \n\nMy favorite line is "If I choose then I lose", meaning that if he has the opportunity to use substances, he will. Should he have to choose what to do, he\'ll choose being high every time. In doing that, he can temporarily avoid thinking about his heartbreak ("Distract my brain from the terrible news / It\'s not living if it\'s not with you").\n\n"It\'s not living if it\'s not with you" is an interesting lyric, especially considering how he talks about Danny as a bit pathetic, a lost cause, and a loser. It\'s like he\'s saying that his \'new life\' without this person with whom he\'s in unrequited love isn\'t even life, it\'s just some form of stupor or living death. "I feel sick and I know that I\'ll lose, but / It\'s not living if it\'s not with you", in other words he sees himself engaging in the same behaviors that make him look down on Danny, he knows if he keeps up the substance abuse he\'ll fail to achieve more in life than Danny, but he just doesn\'t care because life is just not worth living, and is too shitty to live through sober, without this person he loves. He knows that he\'ll lose. | |
| Morphine – In Spite of Me Lyrics | 2 years ago |
| The singer comes across as genuinely proud of and happy for the woman. She's out of his life now, and he's sad what they had ended, but he always knew she would do something real with her life, and he's proud to see that this person he loved made it happen for herself, like he always knew she would. | |
| Morphine – Candy Lyrics | 2 years ago |
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It's about a woman who wants more from a man she was seeing, but while the guy gives her lip service about their relationship meaning something serious to him, he's never gonna move for her. And she knows that. And he knows she knows that, and kind of pokes dark fun at it with his, "because YOU love me way too much for you to ever leave." |
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| Enigma – Sadeness (Part I) Lyrics | 3 years ago |
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@[Kohrah:36122] I agree that it's definitely overtly questioning the lifestyle / philosophy and demanding answers from someone who has chosen that path, but I think that condemnation is actually only on the surface, a way to dip her toe into the deep end and allow for her seduction into experiencing it; the song is ultimately a confession of a tormenting attraction to the darker pleasures of life, the morally questionable, the forbidden experiences. Here's where I get that layer, in the emotionally heady repetition of the following lines: "Sade, dis-moi Sade, donne-moi" The song demands an accounting for the sins perpetuated by followers of the Marquis de Sade's lifestyle, but it seems (by tone and obsessive repetition especially) that what the person in the song is truly asking for is to be seduced into the very forbidden experiences she is on the surface condemning. The protagonist is begging for a deeper understanding, to be told, to receive an answer, an experience to allow her to come to a place of peace / rest from this obsession. Tell me, she says. Give me, she says. Give me salvation. And she's not sure which kind of salvation she truly would have. |
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| Enigma – Sadeness (Part I) Lyrics | 3 years ago |
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@[discobiscu:36121] also: Sade, dis-moi (Sade, tell me...) Hosanna (Hosanna) Sade, donne-moi (Sade, give me) Hosanna (Hosanna) |
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| Enigma – Sadeness (Part I) Lyrics | 3 years ago |
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Sade, dis-moi (Sade, tell me) Qu'est-ce que tu vas chercher? (What are you looking for?) Le bien par le mal (The good in the bad?) La vertu par le vice (The virtue in the vice?) Sade, dis-moi, pourquoi l'évangile a du mal? (Sade, tell me, why the gospel of evil?) Quelle est ta religion, où sont tes fidèles? (What is your religion, who are your faithful?) Si tu es contre Dieu, tu es contre l'Homme (If you are against God, you are against man.) Sade, es-tu diabolique ou divin? (Sade, are you diabolical or divine?) *Not a native French speaker, but this is the rough translation. |
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| Jim Croce – The Hard Way Every Time Lyrics | 3 years ago |
| As someone else who leads with her face, you fail a lot. But you lived authentically, honestly, and eventually figured things out for yourself as you went. | |
| Bright Eyes – Make a Plan to Love Me Lyrics | 3 years ago |
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Some people realize sooner than others that we're growing old now, making our lives in all senses now, and might not have forever to wait on investing in people to be important in your life. You might not have forever to build a family. If you keep putting off love and family, you might lose out on it for good. Life isn't predictable, and people generally won't--and shouldn't--wait forever. |
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| Trembling Blue Stars – Maybe After All Lyrics | 3 years ago |
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Having to realize that someone isn't bad or cruel just because they don't want to be in love with you. They have their own reasons for abstaining from the passions, for remaining fundamentally apart from you, for not wanting to fall in love with you. You wanted to love someone deeply, and at that time your loved one did not; that's not a fault on either person's part... You just don't want the same thing from a relationship right now, and that's the fundamental, bleak reality of it. Sad song about realizing what you wanted for so long, yearned for so deeply, you can't have because the other person just... doesn't want the same thing, doesn't want you, doesn't want to be in love, doesn't want to be in love with you. |
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| Sprites – Do It Yourself Lyrics | 3 years ago |
| Also why you should be cautious dating someone you work with. | |
| Blonde Redhead – Melody Lyrics | 4 years ago |
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It paints the scene of a person standing in their kitchen staring at letters from their recently-jailed loved one, who out of the clear blue sky had apparently been struggling with something serious enough to murder someone over. But there was no indication of any problem at all up until to the arrest and subsequent trial. And it's just baffling to that person standing in that kitchen that nothing seemed unusual or out of the ordinary, that Melody never seemed bothered or mentioned this huge issue in her life (old man being unkind) at all prior to or after killing him. If there was such a significant issue, and apparently there was, how did you not sense anything at all was wrong? Who is this person if she can keep such significant things from you without a pause? Who are you in a relationship with? |
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| The Magnetic Fields – The One You Really Love Lyrics | 4 years ago |
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It reminds me of this poem I read forever ago with a stanza that read something like this: "To thrust love overboard makes it quite safe. Oh lovers, learn that love does more than drown when thrust overboard-- It forever anchors you as its own." |
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| Guy Clark – Let Him Roll Lyrics | 4 years ago |
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Heartbreaking song. "Too many days of fightin' the weather, And too many nights of not being together." |
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| Tom Odell – Another Love Lyrics | 4 years ago |
| After finally separating from your ex, you're trying to be with someone new. You like this new person, you genuinely do, but that's where it begins and ends. You put so much of yourself into your ex-love for so long that you're spent, physically and emotionally exhausted. Now you're with someone new, with all the promise in the world, but you just can't seem to feel any urge to make any kind of dating / romance effort. At all. You force yourself to go through the motions, but you're burnt out on trying, and love, and making an effort to connect with someone. You're just... spent, drained, empty. | |
| Snow Patrol – How to Be Dead Lyrics | 4 years ago |
| I've always interpreted this song as you're in a relationship with a person who just will not stop picking fights and finding problems with you and your behavior. Every action, every event, every little innocuous thing gets blown up into some critical issue, where yet another part of you is flawed or lacking. And she just keeps going and going at you, wearing you out, until you just end up saying, 'You know what? You're right. It was the drugs.' When in fact, that's just your way of getting her to shut up finally when you couldn't get through to her with real talk. She needed there to be a problem with you, something to be your fault and your error, so whatever, you'll give her her victory so you can just be left alone in peace without someone screeching at you about how bad you are. | |
| Eagles – Desperado Lyrics | 5 years ago |
| @[richgirl90:29422] Very well said. | |
| The 1975 – Me Lyrics | 5 years ago |
| @[abravar2:29400] Wow, I never thought of that interpretation, but it completely fits. Damn. | |
| The Horrible Crowes – Sugar Lyrics | 5 years ago |
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I think the narrator is definitely singing about a woman he sleeps with occasionally. Sounds like she steps out quite a bit and has a bit of a drug problem. But the more I listen to it, the more the narrator sounds like the deluded one. Sure, she's denying her sleeping around and drug use, but he's the one making excuses for her behavior when the reality is that he's just a lot more serious about her than she is about him. She's not really trying to hide anything with her "oh no, no, nos", just creating the space for him to make it about the other men and drugs when it's actually just that he's kidding himself about their relationship. Who does she think that she's kidding with her denials this time? Well, not herself, but he sure seems to be willing to delude himself that they have more than they do. But, yeah, sure, buddy, no one knows her like you do. I'm sure if it weren't for the loneliness driving her to other men and coke every night, she'd remember you're deeply in love. Uh-huh. Sure. The narrator is the one kidding himself. |
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| Coldplay – Spies Lyrics | 5 years ago |
| @[MissLeto:27094] Totally agree with the 1984 parallels. Glad someone else sees it. | |
| Coldplay – Spies Lyrics | 5 years ago |
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Feeling bad because they're *all* spies and can't touch you -> feeling so good because they're *just* spies and can't touch you. Adding that *just* at the end really drives home that the people the spies once were are gone and all that's left are cogs in the machine. They're less than they were. They're not people the narrator once sought to find and connect with beneath the doublespeak and manipulation of the environment; no, now the narrator sees them as *just* spies, harmless, and inert. All spies? People with secrets and unknown motives and allegiances; not trustworthy or accessible to the narrator, but still viewed as hiding a person behind the mask. Just a spy? Just a cog in the machine functioning in its role; no threat, no substance, no individual hidden beneath the function. |
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| Coldplay – Spies Lyrics | 5 years ago |
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The subtle change in the chorus is what gets me in this song. We start out as someone who feels isolated and bad about not being able to connect with the people around her, given that they're all spies and it's not real to them, they have nasty motives, they can't be trusted. They're all spies. "And the spies came out of the water But you're feeling so bad 'cause you know That the spies hide out in every corner But you can't touch them no, 'cause they're all spies They're all spies" Then, we move from wishing we could connect with a real person but finding only spies to the next logical psychological place for the narrator who has lived in that environment and seen too much treachery and people with secret motives. The singer is now panicked, fearing the spies, fearing their motives, fearing being found or seen, running to hide any vulnerability from the spies omnipresent everyday, everywhere the singer goes. It's no longer just isolating, now it's dangerous to be around anyone. "And if we all hide here They're going to find us And if we don't hide now They're going to catch us where we sleep And if we don't hide here They're going to find us" This is the most interesting transition-- why does the narrator go from feeling in mortal danger from the spies, danger that previously had to be avoided by fiercely and desperately hiding, to feeling almost comforted by the omnipresence of spies? Did the narrator kill off her/his own vulnerability? Did the narrator realize that fake people with secret motives can never connect with her/him in any meaningful way anyway, and so can't truly hurt her/him? Did the narrator give up on finding a real connection in a world of spies? Is the narrator still even capable of wanting something real, or is the narrator now beaten down by the world, heart jaded to the point where being surrounded by spies has actually become comforting and the narrator is no longer someone who could even be open to a genuine connection? Did the narrator become colder or wiser? Did the narrator lose his heart/soul/ability to love, or did the narrator gain perspective and freedom? "And spies came out of the water But you're feeling so good 'cause you know Though spies hide out in every corner They can't touch you no 'Cause they're just spies They're just spies They're just spies They're just spies They're just spies" It's open-ended, but in my opinion what has happened is the narrator has lost his ability to reach out. He started as someone isolated, sad, and frustrated by the duplicity and questionable intentions of everyone in his environment. He was upset that he could never seem to really touch or connect with anyone-- they were "all spies". He felt so bad 'cause he knew that "though spies [hid] out in every corner", he couldn't "touch them no, 'cause they're all spies". This was initially a painful situation for the narrator. Then the narrator became terrified of being seen/known by these spies, of having his secrets or any vulnerability seen by anyone. The narrator felt unsafe, felt that he had to run and hide from the spies around him in order to survive. People were no longer simply unknown quantities with secret motives and agendas, walls unpenetrable, preventing the narrator from finding any genuine intimacy-- now he's perceiving them as actively malicious, dangerous, threatening. But then we transition. No longer does the narrator feel "so bad" about being surrounded by spies he can't touch. He also no longer feels threatened by their presence. No, the world has finally worn the narrator down and taken that important piece of his heart/soul that initially caused him to yearn for genuine intimacy/connection and feel pain when being surrounded by spies kept him fundamentally isolated. In the end, he has become a person who "[feels] so good cause [he] know[s] that though spies hide out in every corner, they can't touch [him], no, 'cause they're just spies." He has changed from a person hurt by his inability to find genuine intimacy and connection in an unbearable and isolating environment into a person who is actually *comforted* at the fact that he is unable to connect to anyone in his environment. He has changed from someone who hated and railed against the alienating conditions of his environment into someone who finds comfort in alienation, who feels "so good" when he reflects on the knowledge that no one around is able to reach anything real in him anymore. He has become just another spy in the environment who can't be touched by anything real. He is no longer desirous of such a connection with the other spies. He no longer wants to find anything real. He's at peace having lost that part of his heart/soul. He is now a part of the machine. In this way, this song reminds me tremendously of the ending to Orwell's 1984. Winston started out a rebel with a desire for love, justice, and truth in a totalitarian world of double-speak and manipulation. Winston describes the result of the government's brainwashing as "Something was killed in your breast; burnt out, cauterized out." Clearly that something killed in Winston, and in our narrator in this song, was the heart/soul, the piece of the human being that can love, connect, establish intimacy. In the end, both Winston and our narrator in this song had been broken by their environments; and not only were their senses of self destroyed, identities crushed, at the end both men were happy to be broken. Winston's joy at the very end of 1984 represented the ultimate destruction and defeat of his mind/heart/soul, the victory of the state over the individual. Here in "Spies" by Coldplay, we have the exact same thing: A man started out with a heart/soul/mind and, after the world taught him lesson after lesson for it, he becomes complicit in his own dehumanization-- his joy is now found in the very alienating conditions he once strove to overcome. |
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| VAST – What Else Do I Need? Lyrics | 6 years ago |
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"I don't mind that I've Come back here again In a place so far away From normal life" He's found himself isolated again, back in his own private world. He's perfectly content so long as the outside world doesn't try to interfere with him. Basically living as a member of the real world never works out for this guy, and he's content in his own private world separate from it all. |
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| Curve – Wish You Dead Lyrics | 6 years ago |
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The woman is singing about a guy she occasionally sees. They don't treat each other great. But quite frankly, that's fine with her. "You're so uncaring So assuming Backstabbing All consuming" The reason the relationship continues is that, well, 1) she can get off on the twisted dynamic they maintain, but also because 2) neither cares enough about the other to attempt to push a boundary. "I know you won't 'Cause you never do" "You can filter your poison into my sleep But I know it's my heart that you could never reach I know you won't Cos you do as you choose" Grinding the knife is fine, the everyday cruelty is fine, but what would cause her to wish him dead? If he ever were to poke at the boundaries she's established. "Don't step over my line Don't step over my time Don't step over my head Cos I will wish you dead" ... Luckily she knows he won't. It's just not in him to care or question or bother. And he isn't someone trustworthy anyway. |
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| The Hold Steady – Chillout Tent Lyrics | 6 years ago |
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Like this version, but I gotta say the demo lyrics made it a bit *more*: "He was pretty hot and so she did him in the chillout tent, and she never saw that boy again." |
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| The Hold Steady – Can You Please Crawl Out Your Window? (Bob Dylan cover) Lyrics | 6 years ago |
| @[Keterian:26754] I totally agree. In this version the singer is almost laughing at the obvious manipulative requests. I like it. | |
| The Magnetic Fields – No One Will Ever Love You Lyrics | 6 years ago |
| this song is about an ex who was just never quite there with you, someone who was just emotionally unavailable at their core. neither you nor your actions could never quite touch them. this is a bitter song remembering that ex. | |
| The Hold Steady – You Can Make Him Like You Lyrics | 6 years ago |
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This song is very clearly calling society out for the cultural pressure on women to see themselves as secondary and how crappy it is to be that young woman who hasn’t yet convinced herself that she doesn’t have to filter her interests through a guy or rely on a guy to get what she wants. She can develop her own interests and handle herself. But when young women do this, we get a ton of shit for wanting to be capable in our own right. If she’s interested in motorcycles, she doesn’t have to find herself a guy with a bike and ride on the back; she can go out and learn to ride. If she wants drugs, she shouldn’t be expected to sit back and let the dude pay and supply; she doesn’t have to owe a guy for providing the drugs, she can get her own. Or, she can buy for her and her guy. She can throw a party for her own friends and they can have inspiring conversations; house parties aren’t reserved for the guy’s guests, despite fraternity/sorority culture. She doesn’t have to be the passive party. It’s crazy to me that so few of the comments pay attention to the last two stanzas. “They say you don't have a problem / Until you start to do it alone / They say you don't have a problem / Until you start bringing it home / They say you don't have a problem / Until you start sleeping alone”. In other words, no one gives her any guff for her interests when she’s allowing these guys to be the ones who get to take action while she sits back and chills, waiting passively. She’s a woman, so she’s allowed to sit back and remain inactive without comment. But when, as a young woman, you try to free yourself from the pressure to remain inert and unskilled and realize your interests for yourself, all of a sudden people hate on you like its their job. All of a sudden, your interests are so weird and problematic and fake and you get judgement from everyone and evverywhere. If you’re an accessory to a dude, your interests can be normal. If you’re independent, your interests are a problem. There’s this pressure in society that encourages women and girls to leave skill development and leadership to men who will do the dirty work for them. But who wants to be the secondary character? Let me tell you, it sucks to be a young woman who wants to help build the family cabin only to be told she can’t help because it’s a job for the men in the family. It sucks to grow up and have your father never think to teach you basic home improvement skills because you’re his daughter and not his son. It sucks to like motorcycles growing up and have men tell you you’re too small to pick one up, so you’ll never own one. It sucks to realize you never developed certain skills because all your life men around you were encouraging you to rely on them. When you start to insist on actually participating actively in your interests and learning skills, that’s when you get the push back from men who don’t want women in their domains. It really sucks. Society pats these young women on the heads and tells them not to worry their pretty little heads about X, because women aren't encouraged to be their own people,separate from men. |
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| The Band Perry – You Lie Lyrics | 10 years ago |
| This song sounds great, and it's catchy, but... I can't get over the fact that most of the similes make it wrong. I mean, if you lie like a Persian rug, or a penny, or a dog, you're laying down... not speaking a falsehood. So that's really annoying. Catchy though. | |
| The Jezabels – Dark Storm Lyrics | 11 years ago |
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I'm not sure, but I get the impression that this song is about developing a drug (coke?) addiction. She starts using and sees some of the unpleasant side-effects (insomnia, not being grounded, how easy it is to find meaning in everything but only while on it). She doesn't think she'll become an addict, but the coke keeps enhancing her life, and withdrawal makes her feel so empty and shitty and loveless, and things stop being so easy and enjoyable all the time. She starts using it in more and more contexts (the "I took it to the ____" lines) to enhance them, but then she has to face some kind of unpleasant event related to her drug use. Despite or because of this unpleasant event, she realizes her desire for the drug goes beyond her desire for anything else ("higher than the call for children", etc). She's saying she should have stopped using right then and there, when she realized she wanted it more than everything else (should've flipped it off, I should've known there and then"), but coming off of it was too shitty in too many ways. So she starts taking the drug again ("oh you roll, roll over me"), recognizing that it's her "pristine, hopeless thing", as the high is still perfect, but it's a high and highs end and tolerances build up and eventually you have to come down. It's a hopeless place to live and rely on, because you can only visit. And now you're totally dependent and controlled by a substance. |
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| The Jezabels – Disco Biscuit Love Lyrics | 11 years ago |
| I think it's about a raver girl who's super into her raver bf. The both go to these events and take molly/ecstasy/MDMA and experience that "disco biscuit love", that connection you feel while on that stuff. It gets old when it doesn't translate over into real life. | |
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