Psilocybae (Millenial Love) Lyrics – Childish Gambino

[Verse 1: Childish Gambino]
Someone made a mess in my account (Someone sound like me, yes)
Someone bought a Patek in a panic (Yes, yes)
Bode, Bentley addict, I go manic (Oh no)
Hit the oochie-coochie ’til it’s slanted, ooh
I’m gon’ beat it up, ooh, lady
I’m gon’ make your dreams come, baby
Ayy, you the one who talking all that trash (You the one who talking all that trash)
Forty-five, I’ll twenty-eight that ass (Ooh)
You can set the snow on fire (Yeah, ooh)
You smell like a peach papaya
She said, “Eat this psilocybin, I’ma be right back”
I’m like, “Aight” (“Aight”)
“Ayy, I don’t know what psilocybin is” (No)
“This better not be no molly”
She just laughed and closed the door
Dark chocolate, sea salt
I took a bite (Uh, uh)
She said, “We gon’ have a special night” (Ooh, ayy)
I said, “Who you telling, girl? I know that”
Tracee Ellis with it when you throw back (Ooh, yeah)
Girl, I see your (Shadow move)
Ooh, you’re so divine (Yes, you are)
And them panties came off (Ooh, yes they did)
I’ma give you some privacy (Uh)
Pictures with your stepsisters (Hmm)
N. K. Jemisin with you, uh
Got the All About Love, on some bell hooks
Then I turned to a dirty look, uh (Meow)
Ayy, why your cat looking at me sideways?
“Sing to her”
I said, “Nah, I’ll put on the radio though”

[Interlude]
I might let you go

[Verse 2: Childish Gambino]
Lay back on my back (Uh), vibrate
My ex on some BS
She walked out the closet
Girl, never write a check I can’t deposit
She said, “Boy, stop, let’s go walking” (Let’s go walking)
“You wanna be outside for this” (Hold on)
We just talking
Dogpark looking like a Trader Joe’s (Roof, roof)
Papillon, mmh, thought you hated those
Other girls, uh, let they shady show
Every time we walk around
They say, “How she gonna hold him down?” No (Mmm)
They don’t know what they missing
Most these n!ggas wanna run around with these SZAs, yeah
I prefer to just stroll the park with this Chaka
Baby girl was just digging all in my pockets
I was going hard (By the magic hour)
We were holding hands, tried to make me understand (Ooh, uh, yeah)
Make girls fall in love, that’s my (Magic power), yes
Everybody’s jealous I won’t ease it with these colors (Uh, uh)
(Ooh, I wanna see it in the moonlight)
Yellow, red, orange robe, asking for donation (Ooh)
I’m not a tourist, n!gga, this is not vacation (I am not a tourist, n!gga, this is not vacation)
Vibrat
oddamn, man, this girl going crazy on my Motorola
(She said) “Let me answer it” (Let me answer)
Then she’ll know it’s over (Ooh)
Girl, you cancerous, you gon’ ruin my life (Ah-ah)
Let me get this paperweight, then come be my wife
She just laughed and touched my face (What you mean?)
You don’t understand what this is (Oh wait, wait, wait, wait)
I ain’t looking for another lifetime
Let’s just stay here and enjoy the great design
Had the iceberg tucked in my waist (Bling)
Fu*k an omelet (Ooh), you can eat off my face (No)
I just thought that we were vibing (Ayy)
You don’t love her, then you lying (Uh)
Come and go and you get tulips
Put a finger to my two lips (It’s okay)
Ooh, you got it bad, just remember what we had
You can set the snow on fire
The reason that you suffer is desire (Huh)
The reason that I’m moving with this ooh-wee
I was loving life, I got too deep (I was too deep)
Woke up in my room, she was long gone
Toni singing me another sad song (Ooh)
Eternity
Oh, until we meet again

[Bridge: Kadhja Bonet]
This ain’t special, tell me what you want
This ain’t special, baby, this is fun
This ain’t special, tell me what you want
This ain’t special, baby, this is fun

[Verse 3: 21 Savage]
Drop it off (21), let me see if your booty soft
Gold mouth (Hold up, hold up), yes, I’m from the Dirty South
Lights out (Straight up), summertime, I brought the ice out (21)
Pipes out (On God), all my shooters came from Moscow
Got a girl in Harvard, I talk proper when I call her (21)
Baby, I’m a baller, ain’t no way that I can raw ya (Straight up)
She don’t want no new friends, she just tryna buy her a new Benz (On God)
I’ve been counting M’s, me and Ben Franklin damn near kin (On God)
Put my mind to it and I did it, them facts (21)
Talking ’bout your brother to get some pu*sy, that’s wack (Straight up)
The police keep harassing ’cause I’m rich and I’m black (Straight up)
They mad ’cause I made myself a boss without crack (On God)
I ain’t tripping, boy, I’m Lamborghini whipping (21, 21)
Straight up out the trenches, money made me ign’ant (It did)
I’m on a private jet eating Popeyes chicken (21)
I be flexing like I’m eating Popeye’s spinach (21, 21, 21)

[Outro: Ink]
Morning dew
Percolating, still have a little time for Sunday, ooh (So baby, let’s take it back to the crib)
(Back to the, back, back to the)
Baby, I might let you go
Babe, baby, no matter what
And like I switch the other side of me
Baby got a whole lotta ride on me
Babe, baby, let’s take it back to crib
Back, back to the crib
Back, back to the, babe
I might let you go
Baby, baby, no matter what
And I can, I can, I can, I can
To the crib
Back to the crib, back to the
And no one seen them
Baby, I, baby, baby, I

[Verse 1: Childish Gambino]
In this verse, Childish Gambino dives into a narrative packed with hedonistic indulgence, assertive s*xuality, and cultural references, all wrapped up in a surreal atmosphere.

The mention of someone messing with his account and buying a Patek watch in a panic suggests a reckless and impulsive lifestyle, possibly characterized by excessive spending and materialism. This behavior extends to his preference for luxury cars like Bode and Bentley, indicating a penchant for opulence and status symbols that verges on obsession.

The phrase “hit the oochie-coochie ’til it’s slanted” combines s*xual innuendo with a sense of physical intensity, implying a passionate encounter. Gambino’s confident declaration to “beat it up” and fulfill his partner’s dreams exudes a sense of dominance and prowess.

The introduction of psilocybin mushrooms introduces an element of psychedelia and altered consciousness, suggesting a departure from conventional reality into a realm of heightened perception and sensory experience. Gambino’s initial confusion about psilocybin and skepticism about it being mistaken for Molly underscores his uncertainty about the experience.

References to dark chocolate with sea salt and the anticipation of a “special night” evoke a sensory journey, blending physical pleasure with emotional intimacy. Gambino’s recognition of his partner’s divine allure and the subsequent removal of her panties symbolize a moment of surrender and vulnerability.

The inclusion of cultural figures like Tracee Ellis Ross and N. K. Jemisin adds depth and sophistication to the narrative, hinting at Gambino’s appreciation for intellectual and artistic prowess in his romantic pursuits. The playful interaction with a cat and the decision to opt for radio over singing reflect Gambino’s casual and carefree attitude towards romance, contrasting with the intensity of the preceding imagery.

[Verse 2: Childish Gambino]
In this verse, Gambino delves into a whirlwind of emotions, reflecting on the complexities of relationships, the allure of passion, and the fleeting nature of human connections.

The opening lines, “Lay back on my back, vibrate,” suggest a moment of relaxation or intimacy, perhaps symbolizing a break from the chaos of life. However, this tranquility is disrupted by the mention of his ex, who is causing trouble (“on some BS”) and abruptly exits the scene (“walked out the closet”).

Gambino’s refusal to write a check he can’t deposit implies a reluctance to invest emotionally or financially in unstable situations. Yet, amidst the turmoil, he finds solace in simple moments, like going for a walk with his current partner, even though the world around them seems chaotic.

The comparison of the dog park to a Trader Joe’s and the mention of a Papillon, a breed of dog, introduces a playful and light-hearted tone. Gambino contrasts this with the shady behavior of other girls, highlighting his preference for genuine connections over superficiality.

As the narrative unfolds, Gambino reflects on his ability to make women fall in love, describing it as his “magic power.” However, he acknowledges the envy this power incites in others, emphasizing his desire to navigate relationships with authenticity and integrity.

The mention of vibrant colors and a robe asking for donation adds layers of symbolism, suggesting a desire for depth and meaning amidst the transient nature of life. Gambino rejects the notion of being a tourist in his own existence, instead opting to fully embrace and engage with the world around him.

The verse concludes with a sense of resignation and acceptance of life’s impermanence. Gambino reflects on the fleeting nature of love and the inevitable pain that accompanies desire. Despite the bittersweet realization, he finds comfort in the memories of past connections, recognizing the beauty in fleeting moments of passion and intimacy.

[Bridge: Kadhja Bonet]
The bridge suggests a casual and playful attitude towards the relationship, emphasizing that it’s not necessarily extraordinary or profound, but rather enjoyable and lighthearted. It invites open communication about desires and preferences.

[Verse 3: 21 Savage]
In this verse, 21 Savage boasts about his lavish lifestyle and success, intertwining references to wealth, status, and regional identity.

He begins by requesting to “drop it off” and inspect if someone’s “booty” is soft, a crude indication of his focus on physical attraction and materialistic desires. The mention of having a “gold mouth” symbolizes his flaunting of wealth and luxury, with “gold” being a status symbol. Identifying himself as being from the “Dirty South” underscores his regional pride and roots.

21 Savage continues to assert his status by mentioning bringing out the “ice” in summertime, referring to expensive jewelry, and boasting about his associates, emphasizing their origins from Moscow. He then juxtaposes this opulence with the academic success of a girl he knows at Harvard, highlighting his versatility and connections across different social spheres.

The verse takes a darker turn as he addresses societal issues, such as police harassment due to his race and wealth, and dismisses accusations of drug involvement. Despite these challenges, he maintains his confidence and pride, asserting his rise to success without resorting to illegal activities.

Finally, he paints a picture of his extravagant lifestyle, from riding in a Lamborghini to dining on Popeyes chicken on a private jet, showcasing his disregard for societal norms and expectations. The mention of flexing like he’s eating Popeye’s spinach suggests his confidence and strength, further solidifying his image as a powerful and untouchable figure in the rap world.

[Outro: Ink]
The outro reflects on the fleeting nature of relationships and the uncertainty that comes with them. Despite the possibility of letting go, there’s a reassurance of enduring affection. The reference to switching sides suggests adaptability and a willingness to navigate challenges together. Returning to the crib symbolizes a retreat to familiarity and comfort amidst life’s uncertainties. The repetition of “I can” emphasizes determination and commitment to the relationship, despite its imperfections. The mention of unseen moments hints at the privacy and intimacy shared between the two, suggesting that amidst uncertainties, their bond remains strong.