Utopija
Logan · Other Songs - Logan
jedina si s kojom zivot vidim svaki dan
obaram redom osvajam
uzimam sto pozelim ko Genghis Khan
Money, hoce mala da ih cijeli sto
za Bali da idemo kad pozeli to
da pali luda luda ide svuda rusi predrasuda
ljubav luda kao Joker i Harley
Pridji mi pridji, napravimo lom
po pice otidji da udara ko grom
do snova mi sidji, udari po tom
po tom, po tom, po tom, po tom
Takva ko ti
ni jedna na svijetu nije
pogled mi tvoj
mastu budi kao prije
Ref.
Ona je moja
ona je moja
ona je moja
utopija
Gdje si lutko, izazivas kukom
radis mi zanosno to
otkrio bih te ko Columbo
vozao Amerikom
Tvoja guza Massiv
bluza ispod Massiv
crna si ko puma od glave do pete
kraljice modeli dzaba ti prijete
Bivsi decko, makni mi se
ti sa meckom, makni mi se
ti sto da ti je ne napinji se
curo bivsa sagni mi se
Tuzan si, a nek si
kuci se vracas ko Lesi
na mapi te ne vidim gdje si
za titulom places ko Messi
Ref.
Utopija
The lyric opens on “Pucam na titulu sa svim napadam,” a compact detail that makes the larger feeling legible. There is no need to treat every first-person line as autobiography. The lyric constructs a speaker through what they repeat, what they exaggerate and which details they choose to disclose. That distinction is especially useful here: performance and feeling can coexist without being identical. The song’s unresolved edges are not a flaw to explain away; they are part of its expressive design.
Genre helps locate the song, but the individual lyric is what gives it distinction. Its repeated phrase provides a memorable centre; the verses surround that centre with setting, character and motive. This balance between familiarity and detail is the song’s main craft choice. It lets the track address a broad audience without erasing the particular circumstances that make the narrator’s voice recognisable. That choice matters because the speaker is not simply reporting an emotion; the lyric stages how it is reached. The verses add complications that the refrain cannot entirely settle, so repetition feels less like a final answer than another attempt to make one persuasive. This gap between declaration and evidence is where the song becomes a character portrait rather than a generic statement.
I could not confirm a release notice, independent review or chart placement that clearly referred to this exact recording. Similar titles are not enough to claim a match, and the absence of indexed material is not evidence of failure or obscurity. The responsible account is therefore close to the lyric itself, with the wider public response described as undocumented in the sources checked.