From the album Your Favorite Toy
This is a song about being discarded and then commanded to accept it. The narrator addresses themselves as 'boy', splitting into the part that got thrown away and the part that has to somehow survive it. The violence is in the 'someone' who never gets named, and in the fact that the narrator has internalized their voice enough to give themselves the same orders.
Your pretty face in a mirror / One hand to spin the lens / But it ain't getting clearer
The camera metaphor promises focus but delivers blur. Trying to see yourself through someone else's lens means you never actually get a clear image, just endless adjustments that don't work.
Dead gardens from bad seeds / But nice guys grow on trees
The narrator calls themselves a bad seed in one breath, then claims nice guys are everywhere and replaceable in the next. They can't decide if the problem is that they're uniquely broken or totally generic.
Get back, hear that, boy? / Someone threw away your favorite toy for good
The command 'get back' demands return to something that's already gone 'for good'. The speaker might not realize they're yelling at themselves, using the same language the 'someone' used on them.
Can't keep my glasses clean / Candy and dopamine
Vision keeps failing. First the lens, now the glasses. The candy and dopamine suggest chasing a high to avoid looking directly at anything, especially whatever just happened.
Is the pressure hard enough / If the treasure's not enough?
This flips the rejection into a test. Maybe the 'someone' who threw him away was right to do it, if he wasn't treasure enough to begin with. The pressure becomes a kind of proof.
The most brutal part is that the 'someone' who threw him away doesn't need to stay in the song. They already taught him how to talk to himself. The narrator has become both the discarded toy and the voice that commands it to accept being gone for good.