This is a song about someone who has convinced herself that performing desire makes her powerful, when really she's just narrating someone else's violence in his voice. She never says what she wants. Every line is 'you wanna,' which means she only exists as the shape of his wanting.
You wanna get my clothes off / And hurt me
The conjunction 'and' treats harm like a regular part of the sequence, not an exception to intimacy. She lists it the way you'd say 'and then we'll get dinner,' like violence is just the next expected step.
He's cold-blooded so it takes more time to bleed
This line flips who's being hurt. Cold-blooded means reptilian, slow circulation, but she's the one bleeding here. She's describing his cruelty through a metaphor that makes her the wounded animal.
Baby, if it feels good / Then it can't be bad
She frames this as his line ('he says to me'), but by the second chorus she's adopted it as her own logic. The song never tells you whether she believed this before he said it or learned it from him, which might be the whole point.
And if you hate me / Please don't tell me
She doesn't ask him not to hate her. She asks him to hide it while he's inside her. That's maybe the most gutting request in her whole catalog, this idea that silence equals kindness.
Then I would show you something / You can never have
The earlier chorus promised 'something they all want / That only you can have,' exclusive access. Now it's 'something you can never have,' total withholding. She's reversed the offer mid-song, but she's still performing for him either way.
You finish this song and realize she never once said 'I want.' The whole thing is his desire performed in her voice, which she's convinced herself is the same as having control. Anhedönia has said Ethel is the version of herself that gave in instead of breaking the cycle. This is what giving in sounds like — not surrender, just the complete evacuation of your own wanting.