This is a song about someone who's created another person just so they have something to destroy, where 'love' is only available as the threat to withdraw it and the mother isn't a parent but the speaker's own bifurcated self treating intimacy like childbirth followed by immediate abandonment. The 'two-headed' isn't a third party figure. It's the speaker addressing someone she both made and wants to unmake, claiming godlike creative power ('I create you') while admitting she won't protect them from violence she's deliberately placing them inside.
You think that you create the waves / But I create you
The song's first actual words are a power claim so totalizing it erases the other person's agency before they've done anything. Not 'I made you who you are' but 'I made you,' treating the relationship like she's a deity and they're her failed experiment.
The ways I fuck myself and get down good never need to mind you
She announces total independence and self-sufficiency in a song entirely about her obsession with getting back inside this person. The claim collapses in the same breath, which might be the song's only honest moment about how dependence pretends to be domination.
I'm not gon' pull you out the den so they don't bite you / I won't feel good again until I'm up inside you
She admits she's deliberately leaving them in danger while also needing to penetrate them to feel anything. The 'den' isn't a place they wandered into. It's where she put them, and she's withholding rescue as foreplay.
(I love you) (I love you) (I love you) (I love you, I'll love) / (I don't love you) (I don't love you) (I don't love you) (I don't love you no more)
The switch from 'I love you' to 'I don't love you' uses identical rhythm and delivery, turning them into the same utterance rather than opposites. Love here is just the ability to announce its removal, not a feeling but a weapon she picks up and puts down in real time.
Two-headed mother pulled you from the black / And she can send you back
The mother who births and destroys isn't in the bed with them. She's the speaker describing her own divided relationship to creation, where making something and unmaking it are the same impulse. 'Pulled you from the black' is birth. 'Send you back' is what she's threatening the entire song.
The two-headed mother isn't a third party. She's the speaker's own split relationship to creation, where making something and threatening to unmake it are the same impulse wearing different masks. You walk away understanding that for Cain, intimacy and obliteration aren't opposites but two ways of describing the same invasive act.