11 / 551:30

Like A Duck To Water

这是我的生活

This is my life

随便你们怎么说我

Say whatever you want about me

我也不在乎

I don't care either

不会去想太多

I won't overthink it

是我自己走的

Is one I walked for myself

你不要拦我

Don't stand in my way

你们都是过客

You're all just passing through

我不需要多余的伴

I don't need any extra company

因为只有她一个人爱我

Because she's the only one who loves me

我怕你们总惦记我

I'm afraid you'll keep thinking of me

没有担心的事

I've got nothing to worry about

相同的姿势

In the same position

一天又一天

Day after day

如胶似漆的枕头

My pillow and I, stuck together like glue

我躺下去

I lie down

这是我的生活

This is my life

随便你们怎么说我

Say whatever you want about me

我也不在乎

I don't care either

不会去想太多

I won't overthink it

是我自己走的

Is one I walked for myself

你不要拦我

Don't stand in my way

你们都是过客

You're all just passing through

我不需要多余的伴

I don't need any extra company

因为只有她一个人爱我

Because she's the only one who loves me

我怕你们总惦记我

I'm afraid you'll keep thinking of me

没有担心的事

I've got nothing to worry about

Notes

Independence is measured in spare bowls, a closed front door and easy sleep. Grand sayings find their ideal environment in a very ordinary bed.

得过且过

得过且过 means muddling through as long as one can, without ambitious plans or a strong sense of purpose. It often carries criticism of that attitude. “One day at a time” sounds gentler in English; the Chinese leaves more room for both deliberate ease and resignation.

潇洒自如

潇洒 suggests an unencumbered, stylish ease; 自如 adds being able to act naturally and comfortably. The following insistence that this road was walked by the speaker himself makes the ease an achievement. The song can sound resigned in 得过且过 and proud here without changing its practical aim: retaining control of the scale of one’s life.

过客

过客 is a traveler passing through a place, extended to someone who occupies only a temporary part of a life. The word redraws the relationship: critics who speak as though they own a stake in the speaker are only visitors. It also makes the earlier “road” image social, with people encountered along it but no obligation to keep traveling together.

多余的碗筷

碗筷 pairs bowl and chopsticks into a household place setting. Refusing extra company becomes a rule about the table: there is no equipment for an additional guest. The preceding “she” makes the space feel occupied rather than empty. The scene’s comfort depends on keeping an intimate household small, not on proving that the speaker needs absolutely nobody.

惦记我

惦记 can mean keeping someone fondly in mind, worrying about them, or having one’s eye on something one wants. The surrounding refusal of extra company makes the attention unwelcome. English “thinking of me” preserves the openness of the word without deciding whether these people miss him or want something from him.

放下屠刀

The familiar saying continues with becoming a Buddha on the spot: even someone who has done wrong can turn toward good. The lyric stops after laying down the knife, then moves to being at ease and sleeping peacefully. A moral turning point becomes the threshold to an ordinary, restful life.

如鱼得水

如鱼得水 means finding the environment or companion in which one can flourish: the fish finally has its water. The official English title substitutes a duck, an idiomatic choice in English, while the lyric preserves the fish. Here the ideal environment turns out to be a life without interference, with enough security to fall asleep easily.

轻松入睡

The reward is unusually modest: no anxiety and the ability to sleep. Across the mixtape, sleeplessness, bodily tension and overthinking repeatedly interrupt boasts. This line supplies their quiet opposite. Being at home in one’s life is tested by what the body can do when nobody is watching, rather than by what an audience applauds.

一年又一年

又 makes recurrence explicit: another year, then another day. Paired with the same sleeping position, time becomes stable repetition instead of progress up a ladder. The intimacy with the pillow gives that repetition warmth. What might look monotonous from outside is presented as a routine safe enough to keep returning to.

如胶似漆

如胶似漆 compares intimacy to glue and lacquer sticking together; it usually describes people inseparably close. Giving that relationship to a pillow makes the bed a comic partner. After rejecting extra companions and praising ease, the verse finds an attachment that asks for no explanation, no performance and no extra place at the table.

Independent, AI-assisted English translation. Not artist-authorized. Sources: Genius · original lyric transcript.

Tracks

YOUR COPY

Listen with your copy.

Add your Bandcamp download to play alongside the lyrics. Your files stay on this device.

On your phone, choose the download from Files. Reading needs no account or purchase. You can also listen on Bandcamp, Spotify, or elsewhere and keep this page open.

Get the album on Bandcamp
JACKZEBRA NOTES

Jackzebra Notes

This companion brings English translations and original lyrics together with notes on phrasing, wordplay, and references. Your audio stays on your device.

Tap an underlined phrase in either language for wordplay, slang, or a reference. The matching phrase lights up across the two columns. Sources and transcription details live under “About this text.”

Tap a timestamp to jump to a lyric. Lyrics follow automatically during playback. Opening a note holds your place; closing it returns to the current lyric. Scroll the lyrics to read at your own pace, then tap “Follow lyrics” to rejoin the recording.

About Jackzebra and this mixtape

Zhuang Zhuang Mixtape arrived on Surf Gang on October 2, 2026: 55 tracks, opening with Sour and closing with Sweet. Its cast widens from YoungQueenz on Poker Face to User116, Effie, kuru, yoyi, 春 and 南部犯罪份子. Aghast has a production credit on every track from Hitman through Snatch, giving that stretch a shared collaborator behind its changing scenes.

Surf Gang release · Artist credits

Jackzebra told AVYSS that he writes while singing over a beat he has listened to repeatedly, keeping the images in his head central. He values the room Mandarin leaves for indirect meanings. Listen for ordinary phrases becoming physical scenes: familiarity becomes cooking, authority becomes family seniority, and a tired saying suddenly turns into a threat.

AVYSS interview, 2024

In STATIC, he describes mixtapes as a format for letting ideas flow, reserving an official debut album for later. In a separate conversation about Above & Beyond, he compared that earlier tape to a collection of his producer friends’ work. The credits here likewise reward attention: long-running collaborators sit alongside guests working in Mandarin, Korean and English.

STATIC interview · Sabukaru interview, 2025

The small details connect to his stated interests: he has described playing Temple Run in transit and before shows, watching Top Boy, and wanting to score White Oleander. These give the songs specific points of contact with his life. The notes follow those connections alongside the lyrics’ jokes, invented scenes and competing voices.

His recommendations in Perfectly Imperfect · Dazed interview, 2025 · Interview questionnaire, 2025

Jackzebra has pushed back on being made to represent all of China’s underground. These notes stay close to the words: what an expression usually means, what changes in this line, and how another song answers it. Cultural references have sources; interpretations rest on details you can hear or read in the song.

STATIC interview

Press Space to play or pause. ← and → seek five seconds.

Artist website/Bandcamp
SOURCES & REVIEW