Ja sam samo moja pesma (feat. Ivana Zecevic)
Sale Tru · Other Songs - Sale Tru
poruka za moju novu damu - manje price, vise seksa
u kraju pucaju opet na pokret, nego dokle
kada hocu da pijem sa drugom da polivam groblje
Obecavali su druge stvari od ovih sto vidim
ratuju debili dok nas startuju civili
i tako dani kruze, ona samo misli da to ume
bolje nego one druge usne sto me ljube
Jer moj kraj je samo malo cudo prirode i drustva
i kad kazem kurva, to moze biti i muska
ortaci sede u BMW-u, a mnogi su u njemu
otisli pod zemlju za jedan sekund
I jos uvek sam u bloku s jednom nogom u grobu
ovde svaki pandur fura 'toku, nisi u Londonu
ja pokusavam da letim dok me oni vuku nazad
ipak ja se vracam kao abrakadabra, madafakaz
Ref. 2x
Jer ja sam samo to sto pevam
i moja pesma
mi baca smesak
kad god mi treba
Vratio se igrac jer mu igra opet prija
mi varimo i danju i kad sunce ne sija
sve sto nam treba je da nam ne treba 'rija
i digni ruke gore ako ti riba nije biatch
Ako nije lepo onda jednostavno nije
ako si prodao samo par paketa nisi diler
vecina ljudi oko tebe su ustvari zmije
i nema niceg lepseg na svetu od biljke
A dan je sve lepsi sto su noci sve gore
shvatio sam da me mrze kad mi kazu da me vole
jer ja sam rodjen tamo gde je samo smrt
i znaj da raj je samo rec kad u paklu stignes na vrh
Ipak ja sam samo mala crna dirka na klaviru
i sviram kad mi bol ne udostoji tisinu
pocivaj u miru Luka, vidimo se opet
ne zaboravljam tvoj osmeh jer je smrt ovde put do slobode
Ref. 3x
About Ja sam samo moja pesma (feat. Ivana Zecevic)
"Ja sam samo moja pesma (feat. Ivana Zecevic)" finds Sale Tru in a pop-minded frame, where a clear central idea and emotional directness carry the song. The song works best when its main melodic and rhythmic ideas are allowed to speak plainly, without being crowded by unnecessary decoration. 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. That restraint gives the performance room to breathe and makes the emotional color feel earned rather than imposed. For listeners returning to Sale Tru, the song offers a compact example of how mood, pacing, and a recognizable point of view can meet in one place. It is a track for focused listening, especially when the details around the main idea begin to reveal their own quiet pull. 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, Sale Tru 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.