From the album you seem pretty sad for a girl so in love
This is a song about romance as performance anxiety. Rodrigo frames internet stalking as destiny, then sprints through an entire relationship arc before anything actually happens. She's so busy narrating her own spontaneity that she reveals the whole encounter was scripted in advance.
One night I was bored in bed / And stalked you on the internet / It's feminine intuition
She rebrands premeditation as mysticism. This wasn't intuition. This was research. The gap between what she's calling it and what she actually did is the entire emotional engine of the song.
I'm paranoid I made you up
He's become so idealized he doesn't feel real anymore. The stalking didn't make him more knowable. It turned him into a collection of attributes she's not sure exist off-screen.
I got chewing gum and a bunch of stuff I'd like to know / Like, have you ever been to Japan?
The chewing gum detail lands harder than it should. It's the only concrete, unglamorous thing in a song full of Versailles angels and destiny talk. For half a second, she sounds like an actual nervous person instead of someone performing nervousness.
If you let me stay the night / Well, I think I might just have to stay forever
The escalation from one night to forever happens in a single breath. She's already living in an imagined future while insisting she's present in the moment. The relationship exists entirely in her head, and she's asking him to catch up.
Kiss me and I might drop dead
Attraction as potential annihilation. She says this is the most alive she's ever been, but the central image is death. Maybe what she's really describing is the fear that getting what she wants would erase her completely.
The song wants to be about overwhelming attraction, but it's really about the gap between the person standing in front of you and the version you built on the internet. Rodrigo is so committed to the fantasy she doesn't notice she's describing a hostage situation where the hostage is herself.