From the album A Matter Of Time
Laufey diagnoses herself as lovesick while actively deepening the symptoms. She calls this transformation embarrassing and a curse but works overtime to maintain it, which means the problem isn't losing herself to romance. It's that she likes who she becomes when she's obsessed and hates herself for liking it.
Twenty-seven days alone / Means twenty million ways to cope without you
The math doesn't add up unless coping is the full-time job. She's not counting down to reunion. She's cataloging survival strategies, which means she's already treating separation like a chronic condition instead of a temporary gap.
The independent lady in me's nowhere to be found
She describes independence in past tense while demonstrating complete emotional dependence in present tense. The independent lady isn't missing. This is her, right now, calling herself transformed while refusing to admit the transformation might be permanent.
I wait by the phone like a high school movie / Dream at the shows, you'll come runnin' to me
She compares herself to a movie character, not a real teenager, which means she's watching herself perform lovesickness from outside. The hallucinations aren't involuntary. She's directing them, casting him in scenes he's not actually in.
You've been hosting parties in my mind / I'm working overtime, you've become my whole world
Working overtime is effort you choose to put in. If she wanted him out of her head, she'd stop throwing the parties. The curse language is a cover for the fact that she likes having a reason to feel this consumed, even when it humiliates her.
The song ends where it started, still cursed, still working overtime, still hallucinating. Laufey would be surprised to learn that calling this a curse while maintaining it with this much effort suggests she's more attached to the state of longing than to the person she's longing for. The fever isn't breaking because she doesn't actually want it to.