36 / 551:14

Soymilk

懒得管

Can't be bothered to care

懒得管

Can't be bothered to care

懒得管

Can't be bothered to care

懒得管

Can't be bothered to care

老油条演技高超

The old slickster's a brilliant actor

还好我看得清

Good thing I can see right through it

我可不想欠你一个人情

I don't want to owe you a favor

本来都想休息了

I was ready to take a break

但是你们太会闹

But you're all too good at making trouble

我只能再努一把力

So I can only push a little harder

虽然很香但是你不能吃

It smells good, but you can't eat it

你是条狗吃巧克力会死

You're a dog, chocolate will kill you

口水流下来的白切鸡

Poached chicken with drool running down

生前嘴巴真硬

Its mouth was so tough when it was alive

洗干净后肉真紧

Once washed clean, the meat's so firm

真不好意思

I'm so sorry

我的重心早放在了别处

I moved my focus elsewhere long ago

谎话太多了

Too many lies

这个人你一定要小心接触

You'd better be careful dealing with this person

虽然你初出茅庐

Even if you're just starting out

同一片天空同一个梦

Under the same sky, sharing the same dream

懒得管

Can't be bothered to care

懒得管

Can't be bothered to care

懒得管

Can't be bothered to care

懒得管

Can't be bothered to care

Notes

A breakfast pairing becomes a portrait of a slick operator. Favors turn into debts, shared dreams into synchronized calculations, and refusing to participate becomes a form of self-protection.

懒得听

懒得 is unwillingness to spend effort, not necessarily inability. Repeating it for listening and caring makes disengagement sound like an allocation of time: this exchange is not worth the work. That claim gets tested when the speaker admits the others have made enough trouble that he has to push himself again.

跟你演戏

跟你 means “with you,” so the refusal is not only to watch a bad actor. It is to become a participant in the other person’s performance, pretending along with them. The next verse’s “old slickster” supplies the partner who knows this routine too well; withholding cooperation is the speaker’s way of breaking the scene.

老油条

老油条 is literally an old youtiao, the fried dough often eaten with soy milk. Figuratively it is a practiced operator: someone who knows the ropes and has become slippery with experience. The title keeps the breakfast pairing audible behind the insult. “Brilliant acting” then specifies the skill this particular old hand has acquired: appearing convincing.

欠你一个人情

人情 here is a favor carrying an expectation of reciprocity; 欠 makes it something owed. The objection is not just to receiving help but to being placed under an obligation to this particular person. That makes a seemingly friendly exchange another possible entanglement in a verse about slippery operators.

你是条狗

The insult pretends to offer protective advice: because the listener is a dog, a tempting food is dangerous to them. That combines exclusion with mock concern—something desirable exists, but not for you. The following direction to find somewhere cool repeats the maneuver, wrapping “get lost” in language that sounds superficially considerate.

哪凉快哪呆着去

哪凉快哪呆着去 is a dismissive way to tell someone to get lost or stop bothering you. Literally it offers somewhere cool to sit, disguising the rejection as an almost hospitable suggestion. After the dog-and-chocolate insult, the surface concern keeps turning into exclusion.

白切鸡

白切鸡 is chicken gently cooked and then cut for serving; the dish name makes the animal ready for a table. The next line imagines its defiant mouth while alive, then praises the firmness of its meat. The passage changes the target from a person who can argue back into something the speaker can inspect and consume.

嘴巴真硬

嘴硬 means talking tough, refusing to concede or admit fault. Giving that “hard mouth” to a chicken before describing its firm meat pulls an idiomatic personality trait back into the body. The animal insult becomes kitchen imagery.

重心

重心 is literally a center of gravity; figuratively it is the main concentration of attention or work. Saying it moved elsewhere long ago dismisses the quarrel as already out of date. The song nevertheless continues giving warnings, so its declared detachment coexists with a desire to make sure somebody else learns what he has learned.

初出茅庐

初出茅庐 literally means first leaving a thatched cottage. The idiom comes through Romance of the Three Kingdoms and Zhuge Liang’s entry into service; in everyday speech it describes someone inexperienced and just entering the wider world. Here the next line strips away any expectation of gentler treatment for a beginner.

没人会让着你

让着 someone means give them room, hold back, or let them have the advantage, often out of kindness or because they are younger. Its negation cancels the customary excuse of inexperience. After the literary 初出茅庐, the sentence lands as plainspoken instruction about entering a competitive social world.

打算盘的声音神同步

打算盘 can mean work an abacus or make self-interested plans. After the shared sky and dream, everyone’s supposedly common purpose becomes the perfectly synchronized noise of calculating. 神同步 is emphatic internet phrasing for uncanny or perfect synchronization.

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