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
潇洒自如的路
This free and easy road
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
没有多余的碗筷
There are no extra bowls or chopsticks
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
潇洒自如的路
This free and easy road
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
没有多余的碗筷
There are no extra bowls or chopsticks
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.