Moras skupit sve
Kranksvester · Other Songs - Kranksvester
na trecem svesteru otkrili smo Boga
postoji sansa da si dupe vidim u raju
otkrili smo Boga, onog s nulom na kraju
Novci povezani gumicom za teglice
zderemo taj kavijar i sa sljivom knedlice
oblacimo bunde od zasticenih zivotinja
idemo na partije gdje samo je golotinja
Zovi nas na svatove kad budemo ti u soru
pojebat cemo mladu i pojest svadbenu tortu
pokusaj nas stici al' ipak momci spori ste
nekad imo psa sad mi paun krasi dvoriste
Meni sija sunce tebi oblaci i kise
ti guras se u tramvaju mene voze rikse
mene vole picke dok od tebe bjeze
ko ne voli svestera lose se jebe
Ponasam se ko da imam kurcinu do poda
rasturam ti himen ko skeletor i ortak
opet sam na bijelom, nosi mi se kruna
ispusem u maramicu soma i po kuna
Ja i moja banda trazili smo pizdu
sad trazimo tri magra ogledalo i slamku
picaka je gro a droge nikad dosta
prostak stavljamo te klasike na vosa
Svester je istina poslanica sa neba
trebas samo pit nazderat se i jebat
sirimo jevandjelje svaki put kad rokamo
zivis samo jednom picke su ko pokemon
Moras skupit sve regrutirat poput skauta
moras jebat Bulbasora Skvrtla i Mjauta
Arksa Kadabru Zubata i Psajdaka
Digleta i Vulpiksa Snorlaksa i Golbata
Carizarda Onixa Laprasa Totodila
Smucima i Larvesta Baterfrija Katerpija
Ratekita Ekansa Dziglipafa Viglipafa
Perzijana Macopa Golema i Dodua
Moras skupit sve
The narrator boasts about wealth, luxury, parties and women as if he has collected every prize available. The title’s “you have to collect them all” gives the song a video-game logic: money, status and excess become items to acquire, while other people are reduced to evidence of success. But the verses are so cartoonishly extravagant that the voice reads as a grotesque caricature rather than a realistic account.
The satire turns on accumulation. The speaker contrasts his imagined life of fur coats and private transport with other people’s crowded commutes, then uses wealth to excuse sexual entitlement and vulgarity. That class performance is both the source of the joke and its danger: the lyrics reproduce the misogyny and cruelty they exaggerate. A responsible reading should not mistake the narrator’s boasts for admirable aspiration.
Beyond the lyric itself, the track has a traceable discographic setting. MusicBrainz dates the recording to 2014, while a current catalogue listing groups it on *Krankšvester Iii* (2019). The later album listing should not be mistaken for the songs debut. I could not verify a dependable chart position or an independent review of this specific recording, so its wider reception remains unquantified rather than something to infer from its lyrics.
Kranksvester’s transgressive hip-hop relies on caricature, shock and absurd excess to attack respectability. No independent review of this track was found, so its satirical intent should not be overclaimed. What is clear is the portrait of a persona who treats everything—including other people—as a collectible. The lyric’s question is whether the listener laughs at that figure’s grotesque worldview or gets invited to share in it; its deliberately offensive style leaves that boundary unsettled.