When people act crazy, they might remark that “there must be something in the water”. Coleman uses this excuse to brush aside his current romantic troubles.

Coleman’d like to think outside forces are making his relationship difficult, but he knows deep inside he’s at fault.

The chorus goes out to the father of Coleman’s girlfriend. It’s a complaint to the dad-in-law in what Coleman hopes can be a mutual masculine understanding. It’s unknown if the father agrees.

Looks like she shouldn’t have engaged the strange game.

She knew that their love’s succumb to constant fighting. Yet, she finds comfort in sweeping the aftermath with her boyfriend. Whether it’s fixing smash furniture, or waxing apologies.

Like how a couple might clean up a broken vase together, she finds bittersweetness in working it like a completed puzzle. Twisted, but it gets her though the pain.

She rank in money from her hedonic lifestyle, even though she feels funny because it’s superficial. Dollars can’t satisfy her ghostly, lonely soul.

With “we”, she projects her monetary hangups to all aspirational youth. The shit they want are fulfillment, not a luxurious, empty alternative.

“You want it, you can have it” is a phrase associated with slimy salesmen and “be careful what you wish for” gifts. She craves fame, but even as she approaches it, she knows it’ll won’t cure all her woes.

Fame are linked with lights, because a spotlight’s an icon for celebrityhood. So when Kiiara’s no longer famous, she’ll disappear from the public eye, and she’ll no longer have fame. For better or for worse.

She appears to be a nice girl, but once people warm up to her, she’ll take advantage of them.

Of course, she doesn’t literally gut her loved ones (or does she?) but the bleeding symbolize her digging out the usefulness out of her friends and lovers through her exploitiveness. Her victims will feel gutted once betrayed.