L.E.S. by Childish Gambino Lyrics Meaning – Decoding Urban Love in the Digital Age
Lyrics
Baby, you’re the baddest, uh
Baby, you’re the baddest girl, and, uh
Nobody else matters
Nobody else matters girl, and, uh
We’re kissing in the bathroom
We’re kissing in the bathroom, girl, and, uh
I hope nobody catch us
But I kinda hope they catch us, anyway
A New York nine’s an everywhere else six
Time-wise, the opposite goes for chicks
I’m in a taxi, texting with my best friend
He’s sleeping with this girl that he met up on West End
He’s lucky, she’s a career woman, no kids
Most girls see the clothes and try and gold dig
Most hoes poke holes in Trojans
Most people don’t fuck and hit the lotto but my folks did
I’m a mess
That don’t rhyme with shit, it’s just true
Don’t bring your girlfriend here, it’s just you
When I’m depressed you’re someone I run to
But, I guess meet me at Pianos
They cross-fadin’ off of Nanos
Ugh, on that hipster shit (shit)
And you’s a hipster, bitch (bitch)
Yo, but not in the lame way
Like, you ain’t livin’ out in BK
Like, you ain’t workin’ on a screenplay
Like, your baby daddy ain’t a DJ
Like, she listenin’ to old Freeway
‘Cause everybody listens to Biggie, but she different
Right, that’s why your friends need wristbands?
Fuck you
Can I have this dance?
Baby, you’re the baddest
Baby, you’re the baddest girl, and, uh
Nobody else matters
Nobody else matters girl, and, uh
We’re kissing in the bathroom
We’re kissing in the bathroom, girl, and, uh
I hope nobody catch us
But I kinda hope they catch us
Baby, you’re the baddest
Baby, you’re the baddest girl, and, uh
Nobody else matters
Nobody else matters girl, and, uh
We’re kissing in the bathroom
We’re kissing in the bathroom, girl, and, uh
I hope nobody catch us
But I kinda hope they catch us, anyway
We can pretend if you want to, like
We in love and started dating at your art school
‘Cause either way we both lyin’ more than half of the time
Except for when I’m home workin’ on your graphic design
Every time we see each other, I’m takin’ you home
Our relationship has gotten Sylvester Stallone
Yellow 911 Persian girl in the back car
But me writin’ a verse the only way they buyin’ a bar
White boys used to trip and send me over a gin
But they busy showin’ off each other Indian friend
She got ironic tattoos on her back
That ain’t ironic, bitch, I love Rugrats
Watchin’ lames handle they fame
They bang any broad with bangs
In a band with an animal name
Hannibal came drinkin’ a handle of Jameson
Analing anyone is the plan for the evening
I’m kidding, stop
Girl crying on Ludlow
She still look good though
Love is East Side, who are you to hate?
Movie ass, not a 10 but a Super 8
You ain’t see me at the show, I was super great
Hotel penthouse, go on let it ruminate
City never sleeps, so I guess I’m never slept on
Did everything I could, then I kept going
Baby, you’re the baddest
Baby, you’re the baddest girl, and, uh
Nobody else matters
Nobody else matters girl, and, uh
We’re kissing in the bathroom
We’re kissing in the bathroom girl, and, uh
I hope nobody catch us
(I hope nobody catch us)
Baby, you’re the baddest
Baby, you’re the baddest girl, and, uh
Nobody else matters
Nobody else matters girl, and, uh
We’re kissing in the bathroom
We’re kissing in the bathroom girl, and, uh
I hope nobody catch us
But I kinda hope they catch us, anyway
Ooh, girl, I wanna know
Are you ready to cry? ‘Cause I’m no good, no good
Ooh, girl, I wanna try
I’m an awful guy and I’m always away
And I’m tryin’ to say
I’m a piece of shit
Believe in this, I’m tellin’ you
‘Cause we barely knew what we had
I’m not that bad, the fun we had
Oh, oh
Baby, you’re the baddest
Baby, you’re the baddest girl, and, uh
Nobody else matters
Nobody else matters girl, and, uh
We’re kissing in the bathroom
We’re kissing in the bathroom girl, and, uh
I hope nobody catch us
But I kinda hope they catch us, anyway
Baby, you’re the baddest
Baby, you’re the baddest girl, and, uh
Nobody else matters
Nobody else matters girl, and, uh
We’re kissing in the bathroom
We’re kissing in the bathroom girl, and, uh
I hope nobody catch us
But I kinda hope they catch us, anyway
In the convoluted urban landscape of love, modern relationships often become entwined with the city’s rhythm and street-smart sophistication. Childish Gambino’s ‘L.E.S.’, an acronym for Lower East Side, serves as more than just a nod to New York City’s iconic neighborhood. It’s a literary canvas, illustrating the complexities of contemporary love, desire, and the pursuit of identity amidst the backdrop of urban lifestyle.
Delving beyond the catchy beat and smooth verses, ‘L.E.S.’ is a complex narrative that dissects the ethos of a generation caught between romantic idealism and the raw reality of city living. Gambino’s lyrics unravel the story of a connection that’s rife with paradoxes, much like the eclectic streets of Lower East Side itself.
Romanticizing the Urban Jungle
Gambino captures the vibrant, chaotic energy of metropolitan life, where a ‘New York nine’ is likened to ‘an everywhere else six’. This line, dripping with the city’s notorious standards and relentless pace, speaks to the relentless comparison and competition that infiltrate relationships.
The artist touches on the transient and often superficial nature of attraction in the city. It’s a place where love can be as fleeting as a cab ride through crowded streets, where intimacy can be found and lost in the anonymous embrace of the urban night.
The Illusion of Exclusivity
Childish Gambino plays with the concept of exclusivity, of being someone’s ‘baddest,’ yet acknowledges that ‘Nobody else matters,’ juxtaposing the idea of singularity with the reality of insignificance in the grander urban tapestry.
This duality underscores a hidden insecurity beneath the bravado—a longing for something genuine in a city that can often feel overwhelmingly disingenuous. It’s the secret wish to be caught that betrays a craving for recognition, for the validation of a relationship’s existence.
The Signature of the Scene: To Be Hip or Not to Be?
L.E.S. isn’t just geographic; it’s socio-cultural. Gambino’s character critiques the ‘hipster’ sensibilities—how being ‘different’ becomes as clichéd as the norms it attempts to defy. The references to ‘ironic tattoos’, ‘screenplays’, and ‘DJs’ are indictive of a culture that prides itself on nonconformity while ironically falling into a predictable template.
It’s the satirical takedown of the indie scene, where authenticity is as manufactured as the commercialism they disdain. Gambino’s sardonic lyrics are a pointed look at how originality is commodified and individuality becomes just another buzzword in a gentrified neighborhood.
Unveiling the Song’s Hidden Veracity
Beneath the allusions to the city’s facade and cultural commentary lies a raw core. Gambino confronts his own contradictions, as a creator in ‘the city that never sleeps’ and as a lover who’s ‘always away’. He professes a brutal self-awareness that he’s ‘no good’, yet there’s a lingering hope that even flawed love is worth the tumult.
It’s in this unfiltered confession where the real message lies—modern love, like modern life, is inherently messy. Gambino expresses a reality where one can be both the protagonist and antagonist of their own story, where the quest for connection is marred by the very human condition of imperfection.
Lyrical Gems: Memorable Lines in ‘L.E.S.’
‘A New York nine’s an everywhere else six’, ‘We’re kissing in the bathroom, girl’, and ‘The city never sleeps, so I guess I’m never slept on’, are lines that will etch themselves into the listener’s memory. It’s Gambino’s unapologetic delivery paired with raw, vivid imagery that brings the experience of L.E.S. to life.
These lines serve as anchor points throughout the song, distinct moments that reflect the convergence of sentiment and setting. Each quip is a brush stroke in the larger portrait of love in the age of social media and urban anonymity, highlighting the complexity of finding authentic connection in a world where everything is curated.
