Corlucky
Luka Bulic · Other Songs - Luka Bulic
a tata isao se kladit
izgleda fasovat ce Srbi
i mast cemo im opet vadit
Moramo ispunit cilj
i otic' u Brazil
da malo doma budu
Sammir i Dudu
Srbima nanijet ce bol
kada ima zabiju gol
dolazi runda na stol
u zdravlje lepom Corlucky
A prednost jos ce podic'
nas Mario Mandzukic
di ce srbijanski ptic
na megdan Modricu Lucky
Na noge lepom Corlucky
pa nas je predsjednik Suki
mogu nam pofafat tuki
i nesto se rimuje s uki
Corlucky
“Lijevi dlan me stalno svrbi” is a telling way into this song: its speaker begins with a scene, not a thesis. The text’s strongest effect lies in the contrast between its direct hook and the particulars around it. A repeated phrase can sound certain, but the surrounding images disclose hesitation, comic excess or unresolved grief. Reading those parts together keeps the narrator from becoming a flat emblem of heartbreak or bravado. The song leaves room for listeners to sympathize while still questioning the account being offered.
The writing leans on timing and contrast. A recognisable name, image or everyday problem establishes the premise; the next turn changes its scale or exposes the gap between public language and private reality. That structure suits topical comedy because the joke can be understood quickly but still carries a point of view. The lyric is strongest when its specific details do more than decorate the punchline. It is worth noticing how the lyric controls scale: an intimate worry, a public event or a small domestic scene becomes large enough to carry the refrain. The recurring line then returns with a changed emphasis. That movement gives the writing its shape and helps explain why its central image is more memorable than a simple summary of the plot.
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.

