From the album Inbred
This is about wanting someone because he's already ruined, not despite it. The speaker frames her attraction as fate or preference, but she's really drawn to a boy whose family trauma and dead-end life guarantee he can't actually love her back. She gets to perform desire without risking intimacy.
His daddy's on death row, but he'll say it with his chest, though / His friends move dope, he hasn't tried coke / But he's always had a problem saying no
She catalogues his life like evidence at trial. The details aren't red flags to her, they're credentials. Notice she knows he 'denies' the guns but watched him anyway. She's been studying him.
I only want him if he says it first to me
This is the tell. She claims she needs him to initiate, but the whole song is her watching, wanting, demanding he 'come and get' her. She's already said it first in every way except the literal words. The condition is a defense mechanism.
He looks like he works with his hands, and smells like Marlboro Reds / It makes me so, uh, and I can't get enough of it
The blank where a feeling should go tells you everything. She can't name what he makes her because naming it would mean admitting this isn't about him at all. It's about what wanting him lets her avoid.
Good men die too, so I'd rather be with you
The 'too' gives it away. She's saying good men also die, so why not choose a bad one? But that reasoning only works if you've already decided safety and goodness are traps. She's justifying a conclusion she reached before the argument started.
The crush isn't about him. It's about the safety of wanting someone whose life is already a wreck. She doesn't have to worry about him leaving because he was never really there to begin with. The song ends with her still choosing him, which means she's still choosing not to be chosen.