From the album My Reckless Abandon
This is a song about manufacturing intimacy through chaos. She frames the boundary-crossing as mutual tension, but every line is her own desire projected outward. He's just driving her home. She's the one imagining his hands on her, wishing he weren't taking her home, seeing his bedroom from outside and deciding the line should blur. The only love she names is for causing problems.
You're so sweet, I hate that / But we compromise 'cause we fight real bad / That's when I want you, no, I need you fast
She hates his sweetness but craves him most during conflict. The song treats fighting as foreplay, but notice she never says he wants her back. The arousal only runs one direction.
You know I love causin' problems / Pull me close and watch you solve 'em / Don't tempt me, I know that it's bad
She loves causing problems, then demands he solve them by pulling her close. 'Don't tempt me' positions him as the instigator, but she's the one manufacturing the problem that needs solving. It's a setup.
I can see your bedroom from the balcony / Baby, I can also see your hands on me / I know there's a line / But I think it should blur
She's outside looking at his bedroom, imagining his hands on her body. The line exists because she's not in there. Her solution is not to cross it but to blur it so the transgression becomes ambiguous, unnameable.
How long can we take it? / How wrong can we make it?
The questions sound mutual, but they're rhetorical. She's not asking him. She's asking herself how far she can push before something breaks or someone finally says what this is.
The song never says what the line is. Friendship, situationship, someone else's relationship, it doesn't matter. What matters is she's engineered a scenario where the only way to get what she wants is to make it someone else's fault for letting it happen. By the end, you realize the question isn't whether the line will blur. It's whether he even knows there's a line at all.