Margarin
Monogamija · Other Songs - Monogamija
za ostale seljake bre ja farmer sam iz snova
na korzou me jure stalno mi se nude
debele krcmarice za mnom bate lude
A ja volim da se napijem i ponasam ko lud
a i moja keva ima stvarno dobar cug
skolu mi odavno zamenila stala
seljak sam, Bogu hvala
Imam livade sirom celog sela
za seljake mlade poput seljackog bordela
mnogo je zatrudnelih ne zna im se broj
za svakog malog cobana kazem da je moj
Pitaju se zene kako sve to imam
alo brate cobane uz pomoc margarina
da holesterol sve ih prima
svaki mali coban mora jesti margarina
Ref.
Margarin, margarina, margarin
margarin, margarina, margarina
Dok me majka jos drzala u krilu
svako jutro izlazak sa caletom u njivu
a kad je pao u bure dok je pricao sa komsiju
ja sam ukrao rakiju pa su hteli da me biju
pitao sam tada sta nije uredu
Boli mene kurac sto je rakija za dedu
ne bijem se vise sa seljaci na kuk
sada prodajem jaja oni kazu da sam glup
oni kazu da sam glup
Nosim utoku dok cuvam nocu stoku
jebem majku vukovima u minimalnom roku
bum bum bum pretvaram u fleku
njima derem krzno mesom hranim deku
Seljaci ucenjuju mi glavu
nocu kradu kokoske pale moju slamu
al' proceniti ne mogu moju imovinu
kao sto ne mogu da prismrde margarinu
Ref.
Seljak kome ne mozes prebiti
jer glavni sam u selu u kome zivis ti
u kome zivis ti
Odavno sam prestao da koristim traktore
za ovaj novi kombajn glavni izvoznik sam more
pa se brate pale pa se brate bole
izvoznik sam ?? brate bole
Ref.
About Margarin
"Margarin" finds Monogamija in a pop-minded frame, where a clear central idea and emotional directness carry the song. Its appeal comes from commitment to a single emotional temperature rather than from trying to impress through sheer scale. There is a welcome sense of proportion in the way the music presents itself: the hook has room to land, while the surrounding moments support it instead of competing for attention. Small changes in intensity keep the song moving and stop its main idea from becoming static, giving the performance a natural sense of flow. For listeners returning to Monogamija, the song offers a compact example of how mood, pacing, and a recognizable point of view can meet in one place. The result is a focused piece of music that works in the moment but still has enough character to invite a return visit. The clarity of that approach is its own strength, because it lets the feeling come through without turning every moment into a dramatic demand. Even when it aims for immediacy, the track avoids feeling disposable because its atmosphere remains distinct after the final note. Its emotional center stays firmly in view throughout. What gives the song its lasting pull is the relationship between focus and release. It does not need to announce every change; instead, the mood develops through repetition, contrast, and the confidence to let a phrase settle before moving on. That sense of control makes the performance feel more personal. The track can sit comfortably in a casual listen, yet it also rewards the extra attention that comes when a familiar line, turn of phrase, or change in energy begins to stand out. In that balance, Monogamija avoids both excess and understatement. The music stays close to its emotional core, which helps the song feel coherent from beginning to end. More importantly, the song does not rely on novelty alone. Its effect comes from the consistency of its mood and the way each return to the main idea deepens the sense of place. That steadiness makes it easy to revisit without losing its impact. The result is not simply a catchy moment but a complete mood, one that leaves a clear afterimage and gives the title more meaning every time it returns, again and again.