[INTRO — 8 bars; 102 BPM; spring-loaded bass, hollow hand percussion, woody knocks, tiny transformed vocal artifacts moving lightly through the groove] [Female contralto — fully sung, close and liquid; long legato phrasing, smooth slides between notes, no spoken delivery] You came in sideways Now the whole room leans I was standing perfectly fine Till you looked at me [hold the final word, then glide downward] Funny how that works [VERSE 1 — bass bounces in short replies; vocal floats across the pocket instead of matching every drum hit] You keep finding the space Right before I move Never where I expect you Still somehow right on cue I step away You ease back in Change the shape I’m standing in And every time I settle into rhythm [long melodic descent] You tilt it again [PRE-CHORUS — percussion thins slightly; melody stretches wider] Don’t straighten it out [hold] I like it like this A little off balance [gentle upward slide] Right on the edge of it [CHORUS — bass becomes more elastic; vocal stays smooth and sustained] You got me on a tilt [sustain “tilt,” then resolve softly] Left when I mean right Back when I lean in You got me on a tilt Everything shifts Soon as you step in I don’t wanna fix it Let it lean Let it bend You got me on a tilt [hold through the next beat] Do it again [POST-CHORUS — 8 bars; groove opens up] [transformed source ribbon stretches through the bass pattern] [Female contralto — soft melodic fragments] Tilt [slow descending glide] Tilt [bass flips upward] Do it again [INSTRUMENTAL POCKET — 8 bars] [bass and transformed source motif trade phrases; percussion shifts subtly while the vocal ribbon becomes a melodic counterline] [VERSE 2 — same bass idea reframed by a looser rhythmic pocket] I know where the one is You keep moving the floor Every time I think I found it You make room for one more Not lost Just loose You get close I lose the count Then I find it You turn it around [longer melodic phrase] I know what you’re doing And I like it now [PRE-CHORUS — hollow percussion circles the sustained vocal] Don’t straighten it out I like it like this A little off balance Right on the edge of it [CHORUS — fuller bass, wider vocal glide] You got me on a tilt Left when I mean right Back when I lean in You got me on a tilt Everything shifts Soon as you step in I don’t wanna fix it Let it lean Let it bend You got me on a tilt Do it again [BRIDGE — 16 bars; mix gradually narrows, bass reduced to a rubbery pulse] [Female contralto — low, melodic, connected lines; no clipped phrases] Keep me right there Right on the edge One little move And everything bends Almost steady Almost straight Then you touch the rhythm And shift my weight [melody rises gradually] Let it stay there Don’t bring it back I like the feeling Right where it’s at [transformed source winds upward] One more second Just like this [absolute silence] [WHOLE MIX SPRINGS OPEN WIDE] [bass rhythm returns rearranged; percussion lands in a new pocket] There I go again [FINAL CHORUS — busiest production, smoothest vocal] You got me on a tilt [long sustained glide] Left when I mean right Back when I lean in You got me on a tilt Every little move Shifts me again I don’t wanna fix it Let it lean Let it bend You got me on a tilt [longest held note of the song] Do it again [FINAL POST-CHORUS — 8 bars] Tilt [high-to-low glide] Tilt Do it again [transformed vocal ribbon curls around the melody] [OUTRO — 8–12 bars; percussion peels away slowly, bass keeps moving] [Female contralto — soft, sustained melody] There you go Moving it again There you go Tilting me again [hold final phrase over bass] Again [final bass note lands slightly off-center] [CUT]
