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Introduction
Desire as background noise
Most songs about being wanted make it feel like a gift. "Of Course" treats it like weather. Yebba moves through a landscape of men calling her mademoiselle, buying her Prada, stalking her page, flooding her DMs, and her response to every single one of them is the same two-word shrug. The repetition is the point. When everything gets the same reaction, nothing is special anymore.
The song is less about any one man and more about what it costs to be the kind of woman everyone wants. The answer Yebba gives: not much. And that's both liberating and a little bleak.
Verse 1
Adoration she's already clocked
The opening verse sets up the dynamic immediately. A man calls her mademoiselle, wants to pay for her hair and nails, and she wants him to kiss and tell. She's not flattered. She's keeping score.
"He calls me mademoiselle / Of course"
The "of course" after every line isn't arrogance exactly. It's familiarity. She already knows how this goes. The man thinks he's doing something new and she's watched this exact script play out enough times that it barely registers. She enjoys the attention on her own terms, but she's not moved by it.
Verse 2
Comparison lands without apology
Here the song gets sharper. Yebba shifts from cataloguing her admirers to cataloguing herself, and then turns that same flat energy on someone else entirely.
"My hair long like Indian / I can tell your shit is thin"
There's no softening there. The comparison is delivered with the same casual certainty as everything else. Then the ex shows up, stalking her page and performing bravado about money he clearly doesn't have. "Of course" handles him too. He's predictable. They all are.
Verse 3
The target shifts, the tone doesn't
This is the verse that catches you off guard. Yebba turns her attention to a woman this time, someone shoplifting, losing jobs, making a scene. The commentary is cutting but delivered without heat.
"That's why you can not keep a job / Of course / But he'll clock out to get me off / Of course"
That last line is the pivot. She's not just observing chaos around her, she's reminding you that while everyone else is spinning out, she remains the one men rearrange their lives for. The contrast is stark and she knows it. She lets it land without explanation.
Interlude
Naming what everyone already feels
"You're so obsessed" arrives as a breath in the middle of the song. Short, direct, a little amused. It's addressed to everyone at once: the admirers, the stalkers, the men in her DMs, maybe even the woman from the previous verse.
It doesn't feel like a complaint. It feels like a diagnosis.
Verse 4
Luxury without gratitude
Now the spoiling becomes explicit. Designer shipments, Prada, a man who loves her through what he buys. And Yebba's response is the same steady "of course" she's been giving everything else.
"He love me, so he Prada me / I'll sit on his pinky ring"
"Sit on his pinky ring" is the most casually outrageous line in the song. She's not swept away by the luxury. She's comfortable in it the way you're comfortable in your own house. The generosity of these men is expected, absorbed, and moved past. That's what makes it so funny and so cold at the same time.
Verse 5
The final dismissal
The song closes with the most direct takedown yet. A fan slides into her DMs. She reports him for spam. He probably eats out of a can. Then the conclusion drops like a door closing:
"All these men are fucking scams"
After four verses of watching Yebba absorb compliments, gifts, obsession, and drama with equal indifference, this line reframes the whole song. The "of course" refrain was never just confidence. It was the sound of someone who has seen enough of men to stop expecting anything real from them. The desire they offer is plentiful and mostly worthless.
Outro
The phrase exhausts itself
Just the words "of course" repeated, stripped of any sentence around them. No new information. No resolution. The song doesn't end so much as it stops, because there's nothing left to say about people who keep showing up exactly as expected.
Conclusion
"Of Course" is about being magnetic in a world where that magnetism attracts very little worth keeping. Yebba isn't celebrating her desirability or mourning it. She's just living inside it, documenting it with the bored precision of someone who has been the most interesting person in every room for too long. The refrain starts as a flex and ends as a sigh. By the time she says "all these men are fucking scams," you realize the confidence was never really about them at all. It was about surviving them.
