This is a song about someone who's convinced herself that choosing danger is the same thing as choosing autonomy. She catalogs every warning sign about this guy like she's keeping evidence, then spends the chorus insisting his instability makes him the safer option because good men die anyway. The logic only works if you refuse to ask whether being on all fours at a corner store robbery counts as survival.
He denies it / Like it's actually important / But he lied 'cause I sure did watch him
She positions herself as the one who sees through his denials, the watcher who knows better. But the whole song is her surveilling someone who shows zero evidence of noticing she exists.
His older brother bagged the valedictorian / His mother steady screaming he should be more like him
She frames his family like a dossier, cataloging his dad's death row status and his brother's success as backstory that explains him. She knows more about his comparative family standing than whether he's ever looked at her twice.
Good men die too so I'd rather be with you
This is the thesis she keeps returning to, treating his danger as proof he's the rational choice. It only makes sense if mortality is the only variable and getting robbed or arrested alongside him doesn't count as a bad outcome.
I only want him if he says it first to me / I wanna **** him in the back of his mom's Mercury
She insists she needs him to initiate, then immediately describes exactly what she wants in graphic detail. The conditions she sets don't match the certainty with which she's already decided.
Maybe I'll just be crazy / And piss him off 'til he hates me / (Yeah right, he fucking loves me)
She floats the idea of making him hate her, then dismisses it with total certainty that he loves her. There's no evidence in the song he's aware she's alive, but she narrates his feelings like established fact.
The song ends with her repeating the chorus logic like a mantra, insisting good men die too so she'd rather be with him. She never actually addresses that the question isn't whether good men are immortal but whether choosing someone who robs corner stores on all fours improves her odds. The repetition suggests she knows the math doesn't work but needs to keep saying it anyway.