I don't love you but I think I like you

Gilbert O'Sullivan · Best Of Gilbert O'sullivan [1991]

I don't love you but I think I like you

Think I like you and I think you know

I don't want you but I do desire you

Do desire you and I won't let go



You say you love me, I say you do

You say believe me I say it's true

If there's a question you'd like to make

It really depends on how much it weighs



I don't love you but I think I like you

Think I like you and I think you know

I don't want you but I do desire you

Do desire you and I won't let go



We are the champions, we are the few

We stick together all the way through

We don't like people telling us off

Hand on your mouth boy when you cough

Hand on your mouth boy when you cough



I don't love you but I think I like you

Think I like you and I think you know

I don't want you but I do desire you

Do desire you and I won't let go



I'll be your hinges, you be my door

You'll beg your pardon, I'll beg for more

If there's a knock then you're on your own

Tell them you're sorry, but no one's home

Tell them you're sorry, but no one's home



I don't love you but I think I like you

Think I like you and I think you know

I don't want you but I do desire you

Do desire you and I won't let go



I don't love you but I think I like you

Think I like you and I think you know

I don't want you but I do desire you

Do desire you and I won't let go

I Don't Love You But I Think I Like You

Gilbert O'Sullivan's 'I Don't Love You But I Think I Like You' stands as a quintessential example of his signature style, blending romantic yearning with a touch of melancholic wit. Recorded for his 1991 compilation, the track showcases his ability to craft songs that feel both intimate and universally relatable. The melody, characterized by its gentle acoustic guitar work and O'Sullivan's distinctive, slightly nasal vocal delivery, captures the complex emotions of unrequited affection or the bittersweet nature of a fading romance. As a staple of his discography, the recording exemplifies the British Invasion pop sensibilities of the 1960s that defined his career, offering a timeless exploration of love's paradoxes that resonates across generations of listeners.