Tvoja je svaka noc
Lexington · Other Songs - Lexington
i vjerovao nisam da ces biti moja
al' odozgo onaj tada mi namignu
i sve crno predje u milion boja
Al' vrlo brzo prava istina se javi
da sem ljepote, duso, nemas ti nista
volis samo pare i prolazne stvari
za tvoj avion vise nisam dobra pista
pa places jer ne znas sta ces
kako bez tebe ja da se snadjem
Ref.
Idi slobodno, tvoja je svaka noc
bilo je naporno biti sa tobom
ja sam odlicno, vece je carobno
ma samo pusti mi nesto narodno
Bili smo srecni nekih mjesec i po dana
i zivio sam, mili Boze, k'o u bajci
al' primjetih ipak, to mi je mana
da ti si vrlo budna dok ja sve to sanjam
Ljubav je camac sto po mutnoj rijeci plovi
i ne mogu s tobom pricati o sreci
treba mi ruka sto me drzi i dok padam
a ti volis vise kad poklon je veci
pa places jer ne znas sta ces
kako bez tebe ja da se snadjem
Ref. 3x
Tvoja je svaka noc
The narrator remembers a woman who once seemed impossibly glamorous, then revises the story: beauty, money and a life of passing pleasures, he claims, were all she had to offer. Yet the song keeps circling back to the question of how he will manage without her. That contradiction is the lyric’s engine. The speaker condemns the beloved while remaining unable to imagine the next step after she leaves.
The verses stage a familiar breakup fantasy in which the abandoned person predicts that the other will eventually tire of luxury and return. But the chorus complicates the confidence: if she truly has nothing beyond appearances, why does her departure feel so consequential? The narrator’s judgments may be defensive, a way to make rejection easier to bear. The song leaves that possibility open rather than making him a reliable moral commentator.
The documented trail is modest but specific: The track is preserved on *The Best Of Collection*, a compilation dated 2018-02-12, issued by City Records rather than a documented original-release date. This gives it a listening context without implying when the song first appeared. 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.
Lexington’s polished regional pop-ballad lane often favors large emotional stakes and instantly legible relationship conflicts. Here, that format gives the narrator room to move between resentment and longing without resolving either. No independent review of this particular song was verified, so there is no basis for claiming a broader reception. Its strongest reading comes from the gap between the story he tells about her and the emotional evidence he gives about himself: the person he dismisses still occupies every line.