From the album Monica
This is a slow-motion negotiation disguised as a love song. Harlow wants what he wants but knows he can't just take it, so he builds this elaborate fantasy where inanimate objects get to touch her and he doesn't. The whole song is him trying to make desire sound patient.
I wish I could trade places with that fence / I wanna be the one that you lean against
He puts himself below furniture in the hierarchy of things allowed near her body. It sounds sweet until you realize he's still describing exactly where he wants to be. The longing gets voiced without making a demand.
I just need the chance to bring the woman outta you / I already see it comin' outta you
This flips from waiting to claiming he already knows what she wants. The phrasing makes it sound like he's unlocking something instead of projecting. 'Bring the woman outta you' frames his presence as necessary for her to become herself.
Grippin' on your body like I'm runnin' outta you / Wonderin' if I'm wantin' somethin' outta you
The first truly physical line in the whole song. He finally admits to gripping instead of wishing. Then immediately backs off with 'wonderin' if' to soften it. The tension between what he's doing and what he's asking permission for gets compressed into two lines.
How does it feel when / All of a sudden / Someone appears and / Takes you by surprise?
He asks her to describe the feeling of being swept up, which is another way of planting the idea without saying he's going to do it. The question makes her imagine the scenario he wants. It's seduction as hypothetical.
The song sounds gentle but it's doing something slippery. Harlow builds this patient, respectful persona in the chorus, then undercuts it in the verses by describing her body, her readiness, what he's already doing to her. The politeness is the sales pitch. The real message is in the grip.