From the album Daughter from Hell
This is about someone who cannot hold their own weight but has convinced themselves it's devotion. The speaker frames total dependence as intimacy, making every admission of weakness sound like a gift they're giving this person. The song never realizes it's describing a hostage situation where the speaker is both captor and captive.
You sugarcoat the oxygen / My lungs are full, I'm sick again
The speaker needs this person to make basic survival tolerable, which they dress up as romance. Being 'sick' around them is not a problem to solve but a state to sustain.
I'll go anywhere you want, but then again / I like this house
The speaker offers total mobility then immediately demands stasis. This is not compromise, it's control disguised as flexibility. The other person cannot win.
You see what I can't seem to see / I don't know where to put it all
The speaker admits they are not equipped to handle their own emotional weight, then immediately makes that the other person's job. 'I'll put you in a song' is maybe the most honest line here, turning a person into a container.
You became where I land / Now you hold all of it
The speaker thinks they have given their weight to this person. But the outro repeats 'Don't drop me off' like a mantra, which means the speaker is still the one being carried. They have not let go of anything.
You're strong, I'm not / You're strong, I'm not
Repeating this sounds like admiration but functions as assignment. The speaker is telling this person what role they have to play. Calling someone strong is a way to make sure they cannot ask for help.
The speaker would be shocked to realize that needing someone this badly is not the same as loving them well. This song thinks it's about gratitude, but it is really about making another person responsible for your continued existence. The scariest part is how much it sounds like a love song.