Blood, Shit & Cum

Marilyn Manson · Other Songs - Marilyn Manson

"Take my money," Is all I think.

He looks at the earring.

"Fag," he mumbles.

I don't mind.

He's fat.

No one likes him.

Life's too short.

I pass a table of black girls

With short hair.

They look like men.

They all look the same.

I can hear the strobe now,

It's loud.

And the music's too bright.

I look for my friends,

But I can't remember if I came alone

Or not.

Doesn't matter though.

There's hundreds of people

Who have waited all their lives,

No doubt,

To be my friend.

And as I near the bar

I see two persons

Eating each other's faces.

I bark to the bartender.

He gives me a placebo.

I'm "so young," he tells me,

"To be here."

I nod and swallow the bland drink.

Then I stumble several times

Near a crowd,

And they think I'm a good dancer.

I hear a girl tell another girl

That some girl she knows

Watched a girl

Puke in the toilet.

I smile in their general direction.

The good-looking one comes over

And bites my cheek.

It hurts,

And I start to

Hit her.

But she's grinning,

And I can see my blood on her teeth.

And I pull her to me.

"My place or yours?"

"The gutter will be fine,"

she confesses.

As we walk out,

She takes another bite from my cheek,

And I smile at the fat man

By the door.

Blood, Shit & Cum

Released in 1996 on the album Mechanical Animals, this track serves as a quintessential example of Marilyn Manson's industrial metal and alternative rock style. The song features a driving, distorted rhythm section that characterizes the band's sound during the mid-to-late 1990s. With lyrics exploring themes of sexual violence and societal decay, the recording reinforces the artist's reputation for provocative imagery and aggressive delivery. It stands alongside other notable tracks from the era, such as 'The Beautiful People' and 'Coma White,' contributing to the album's status as a defining work in the industrial rock genre. The song remains a staple in the artist's discography, reflecting the raw energy and controversial nature that defined Manson's public persona during this period.