12 Sex Type Thing by Stone Temple Pilots Lyrics Meaning – The Provocative Unveiling of Dark Desire
Lyrics
I said I wanna get next to you
I said I’m gonna get close to you
You wouldn’t want me have to hurt you too
Hurt you too
I ain’t, I ain’t, I ain’t
A buyin’ into your apathy
I’m gonna learn, you my philosophy
You wanna know about atrocity
Atrocity
I know you want what’s on my mind
I know you like what’s on my mind
I know it eats you up inside
I know you know, you know, you know
I am a man, a man
I’ll give you something that you won’t forget
I said you shouldn’t have worn that dress
I said you shouldn’t have worn that dress
Worn that dress
I know you want what’s on my mind
I know you like what’s on my mind
I know it eats you up inside
I know you know, you know, you know
Here I come, I come, I come, I come
Here I come, I come, I come
I am, I am, I am
I said I wanna get next to you
I said I gonna get close to you
You wouldn’t want me have to hurt you too
Hurt you too
I know you want what’s on my mind
I know you like what’s on my mind
I know it eats you up inside
I know you know, you know, you know
I know you want what’s on my mind
I know you like what’s on my mind
I know it eats you up inside
I know you know, you know, you know
Here I come, I come, I come, I come
Here I come, I come, I come, I come
Here I come, I come, I come, I come
Here I come, I come, I come, I come
Here I come, I come, I come, I come
Here I come, I come, I come, I come
Here I come, I come, I come, I come
Here I come, I come, I come, I come
Here I come, I come, I come, I come
In the gritty underbelly of early ’90s alternative rock, the Stone Temple Pilots carved out a place with their brazen track ‘Sex Type Thing’. Much more than a simple composition, this song reverberates with the clang of aggressive guitars and an arrogance that struts through its lyrics. Frontman Scott Weiland’s vocal snarl serves as the uncomfortably close whisper you can feel on your neck, embodying a character too real for many.
On the surface, ‘Sex Type Thing’ could be misinterpreted as a brash, machismo anthem, but diving into the lyrical intent reveals layers of social commentary on consent, misogyny, and the objectification rooted deeply in societal constructs. The song’s controversial stance made it a point of discussion, especially in an era where grunge music served as a mirror to the chaos and pain of a generation.
A Gripping Gaze into the Male Psyche
Weiland, taunting with the words ‘I am I am I am,’ thrusts listeners into the psyche of an overconfident male figure. The repetition drives home the unyielding self-identity of this persona, who is fixated on asserting dominance. This is not merely about physical desire; it’s a power play, one that speaks to the entitlement that has historically been part of toxic masculinity.
The proximity the character seeks, ‘I said I wanna get next to you,’ is cloaked in an ominous warning: ‘You wouldn’t want me have to hurt you too, hurt you too?’. The language is purposefully intrusive —uncomfortable and unsettling, it reveals the dark side of seduction by elevating the narrative beyond lust to an insinuated threat.
Dress and Distress – A Dialogue on Victim Blaming
Perhaps the most chilling moment arrives with ‘I said you shouldn’t have worn that dress.’ Here, Weiland exposes the twisted justification often used by abusers to blame their victims. It’s a slap in the face to the ‘she was asking for it’ mentality, showcasing how victims are often wrongfully held responsible for the actions committed against them.
Through these haunting words, the song spotlights the objectifying gaze that reduces individuals to mere sartorial choices and condemns the dangerous narrative that apparel could ever equate to consent. It’s a heavy-handed critique of how society fails to protect and rather blames those who suffer at the hands of abusers.
Dissecting the Chorus’ Subtext
At the core of the chorus, ‘I know you want what’s on my mind,’ lies an eerie, one-sided conviction. It plants the character’s desire as mutual—a mind game where ‘no’ is not part of the vocabulary and the notion of consent is alien. There is an assuredness that is predatory, anticipating submission to his will.
But there’s irony simmering beneath—we, the listeners, know that the song is an indictment, even as the character remains oblivious to the reflection of his own monstrosity. The disturbing certainty ‘I know you know, you know, you know’ suggests a conversation never had, and consent never given, making us squirm at the implication.
Decoding the Intensity of ‘Here I Come’
The phrase ‘Here I come, I come, I come, I come’ is more than a mere refrain; it’s a climax of sorts where the music and the vocals swell in a frenzied repetition. It signifies impending doom, a breaking point, or a visceral claim of territory. It is the sonic embodiment of the character’s entitled arrival.
This repetition serves as a raw, rhythmic pulse to the song—hypnotic and alarming. It is the audible handshake between intention and action, and as it echoes again and again, it becomes a mantra of untamed will, impossible to ignore and difficult to digest.
The Hidden Message and its Liberating Aftermath
While ‘Sex Type Thing’ conjures up images of aggression and control, its paradoxical intent is to empower. By unmasking this predatory behavior, the song intends to condemn and combat sexual abuse. It’s a provocation that echoed with many who had no voice or platform to discuss these oppressive experiences.
The message, obfuscated by its aggressive deliverance, becomes an anvil-heavy catalyst for change. Stone Temple Pilots effectively subvert the listener’s expectations, transforming what could have been mistaken for one-dimensional bravado into a tool that challenges and educates.
