Learn German Through Songs with these 23 Song Recommendations (Full Translations Included!)

This song is a brutally honest look at someone who feels completely lost and is trying to hide it from everyone, including themselves. The singer admits, "Ich versteck' mich hinter klugen Sätzen" (I hide behind clever sentences), using big words and ideas to avoid dealing with his real problems. He pushes away friends, makes empty promises to change, and feels a deep sense of wanderlust, but he knows why: "Weil ich mir selber fremd geworden bin" (Because I have become a stranger to myself). It's a feeling of being disconnected from your own life.

What's really striking is how self-aware the narrator is about his own self-destruction. He says he bets everything "Weil ich verlieren will" (Because I want to lose), which is a heavy thing to admit. He's also terrified of getting close to anyone, confessing, "Ich habe Angst zu lieben, immer nur am Zweifeln" (I'm afraid to love, always doubting), because he's convinced everything will end anyway. The whole song feels like a confession from someone who is smart enough to see all their own flaws but feels powerless to fix them.

Alman grup AnnenMayKantereit'ın bu parçasında karşımızda iletişimi tamamen koparmış birine laf anlatmaya çalışan, çaresizlikten deliren biri var. Şarkı doğrudan suçlamayla başlıyor: "Du bist anders / Du hörst mir nicht zu" (Farklısın / Beni dinlemiyorsun). Karşısındaki kişi susarak bir duvar örüyor ve vokalist Henning May de "Du weißt ich kann das / Schweigen nicht so gut wie du" (Biliyorsun, ben susmayı senin kadar iyi beceremiyorum) diyerek bu sessizliğe dayanamadığını açıkça söylüyor.

Sürekli tekrarlanan "Weil du mir nicht alles sagst / Frag' ich dich nochmal und du sagst nichts" (Bana her şeyi anlatmadığın için tekrar soruyorum ve hiçbir şey söylemiyorsun) sözleri, o bitmek bilmeyen cevapsız soruların yarattığı gerilimi hissettiriyor. İnsanın aklını kaçırması işten bile değil; nitekim kendisi de "Und es macht mich wahnsinnig" (Ve bu beni delirtiyor) diyerek bunu saklamıyor. Şüpheler havada uçuşuyor: Korkuyor musun, yoksa başka biri mi var? En can alıcı detay ise yüz ifadelerine dikkat çekmesi: "Fällt dir auf wie wenig du lachst" (Ne kadar az güldüğünün farkında mısın?). Yalan söylenmesini istemiyor, "tu' nicht so als ob da gar nichts ist" (hiçbir şey yokmuş gibi davranma) diye yalvarıyor ama karşılığında koca bir sessizlik buluyor.

Alman indie-rock grubu AnnenMayKantereit'ın "Ausgehen" parçası, birine çıkma teklif etmenin o tatlı ve hafif çekingen heyecanını anlatıyor. Şarkıyı söyleyen kişi, bu kıza neden bu kadar çekildiğini tam olarak kestiremiyor; "Ich weiß gar nicht so genau / Warum ich sie so gerne mag" (Neden ondan bu kadar hoşlandığımı tam olarak bilmiyorum bile) diyerek başlıyor söze. Ama kızın net duruşuna, hoşuna gitmeyen bir laf edildiğinde anında tepki vermesine bayılıyor. Almancadaki harika bir sokak ağzı kalıbıyla bunu "dass sie immer am Start ist" (her zaman hazırda beklemesi / hemen olaya dahil olması) şeklinde ifade ediyor.

Bütün şarkı aslında çok samimi ve tatlı bir teklifin etrafında dönüyor: "Würdest du heute mit mir ausgehen?" (Bugün benimle dışarı çıkar mısın?). Karşı tarafın ertesi gün erkenden kalkması gerektiğini biliyor ("Ich weiß, du musst früh aufstehen"), hatta onu gece eve kadar bırakacağına söz veriyor ("Ich würd' dich auch nach Haus bringen"). Yine de şansını denemekten vazgeçmiyor ve soruyor: "Würdest du trotzdem mit mir ausgehen?" (Yine de benimle çıkar mıydın?). Büyük hedefleri olan, lafını esirgemeyen birine duyulan o saf hayranlığı en dolaysız haliyle dinliyoruz.

Ever felt like you're talking to a wall? That's the feeling at the heart of this song. The singer notices a change in their partner, telling them straight up, "Du bist anders" (You are different). The problem is, the partner won't say what's wrong. They just stay quiet, which drives the singer crazy because, as they admit, "ich kann das Schweigen nicht so gut wie du" (I can't handle silence as well as you).

The whole song is a desperate attempt to get an answer. The singer keeps asking, but gets nothing back. They can see something in their partner's face but can't figure it out, which leads their mind to the worst places: "Ich frag' mich ob du Angst hast / Oder ist da jemand anders" (I ask myself if you're scared / Or if there's someone else). It's a raw plea for honesty from someone who is being shut out.

German rock band AnnenMayKantereit delivers a stripped-down look at a breakup where neither person really figured out how to fit together. The singer finds himself right back where he started: "Und ich sitz schon wieder / Barfuß am Klavier" ("And I'm sitting again, barefoot at the piano"), dreaming up love songs about an ex. He remembers the strange bubble they lived in together. Outside people found them odd—"Du und ich, wir waren wunderlich" ("You and I, we were strange")—especially when their late-night noise bothered the neighbors ("Wenn man uns Nachts hörte").

The best part of the song is the German phrase "gemeinsam einsam" ("lonely together"). He uses it to describe sitting in silence and lying around in the morning ("du nackt im Bett / Und ich Barfuß am Klavier" — "you naked in bed, and me barefoot at the piano"). The romance fell apart because the partner wanted to know everything ("Du wolltest alles wissen"), which ended up driving them apart. In the end, he comes to a blunt conclusion about why it ended: "Du und ich, wir waren zu wenig" ("You and I, we were too little"). Now, playing music with bare feet on the pedals is simply his chosen way to survive.

Nena's song "Alles Neu," which translates to "Everything New," is a powerful look at change, goodbyes, and the promise of new beginnings. The lyrics describe a cycle where things eventually come to an end—everything is "vorbei" (over) and "getan" (done). But this ending isn't final. Instead, it leads to a fresh start where everything becomes "ganz anders" (completely different) and, ultimately, "wieder neu" (new again).

This transformation involves a personal journey. The singer is about to leave, and someone whispers "Bon voyage" to them. She acknowledges that letting go is painful ("Loslassen schmerzt"), but she reassures the person she's leaving behind. Despite the departure, she makes a heartfelt promise: as long as she can stand and breathe ("solange wir hier noch atmen"), she will always be there for them and be strong for them. It's a song about embracing the future, even when it means a difficult separation, with the hope that understanding will come someday ("Irgendwann").

Who knew ninety-nine toy balloons could cause the end of the world? In "99 Luftballons", German pop singer Nena sings about a harmless batch of red balloons floating toward the horizon that sparks complete military chaos. A trigger-happy general mistakes them for "UFOs aus dem All" (UFOs from outer space) and sends up a squadron of fighter jets. The pilots fancy themselves heroic space adventurers—literally singing "Hielten sich für Captain Kirk" (thought they were Captain Kirk, the famous sci-fi captain from Star Trek)—and open fire. When nearby nations see the explosions, the situation spirals out of control because "Die Nachbarn haben nichts gerafft" (the neighbors didn't get it / understood nothing; raffen is German slang for catching on or understanding).

From there, ninety-nine war ministers act like "Streichholz und Benzinkanister" (a matchstick and a gasoline canister), eager for power and ready to start a blaze over nothing. The absurd overreaction leads to a devastating conflict lasting ninety-nine years, wiping out the ministers, the jets, and everyone else until there are no winners left. By the final verse, the narrator walks through a ruined, empty world ("Ich seh' die Welt in Trümmern liegen" / I see the world lying in ruins). She finds one lone balloon left behind, thinks of you, and lets it go into the sky.

This song is a beautiful anthem for anyone who feels more at home in the dark. The singer describes a group of people who come alive when the sun goes down. As the day "flieht eilig aus der Stadt" [flees hastily from the city], they reveal their true selves. They see beauty in the cold and the dark, comparing themselves to frost patterns on a window: "Wir sind wie Eisblumen / Wir blühen in der Nacht" [We are like ice flowers / We bloom in the night].

They feel they are "viel zu schön für den Tag" [much too beautiful for the day], which they describe as "grell und rau" [glaring and rough]. The daylight makes them uncomfortable and forces them to hide, so they wait for the night to return. It's a powerful song about finding your own kind of beauty and your own place to shine, even if it's in the cold and the dark.

This song is like a warm hug from a good friend. Max Raabe starts by singing about something everyone knows: "Jeder Mensch hat einen Kummer" (Every person has a sorrow). He points out that some sadness is old, while other pain "beißt und schmerzt / Als ob es Gestern wär" (bites and hurts / as if it were yesterday). He even gets specific, reminding us how we sometimes hurt the people "Die man am meisten liebt" (that one loves the most).

But this isn't a sad song! The whole point is the simple, kind solution he offers in the chorus. He just says, "Komm mal her / Setz dich zu mir hin" (Come over here / Sit down next to me). He doesn't try to solve the problem or pretend it's easy. Instead, he offers company and a beautiful, direct reassurance: "Es ist gut, dass es dich gibt" (It's good that you exist). It's a sweet reminder that sometimes, just being there for someone is the most important thing you can do.

Avec « Kurzer Epilog », l'artiste allemande Dota Kehr s'associe à Rainald Grebe pour raconter une occasion manquée qui fait grincer des dents. Dès la première ligne, la distance entre les deux personnages saute aux yeux : « Du hast mir bis zuletzt noch „Sie' gesagt und schwiegst per „du' » (« Tu m'as vouvoyé jusqu'au bout et tu te taisais en me tutoyant »). En allemand, cette tension entre le vouvoiement formel (Sie) et le silence intime (per du) montre parfaitement la fierté ridicule qui bloque les sentiments. Les deux protagonistes jouent la comédie : elle fait semblant de s'amuser avec d'autres et feint l'indifférence (« Ich tat so kühl » / « Je faisais semblant d'être si froide »), alors qu'en réalité, un simple geste aurait suffi (« Ich wäre dir nachgefolgt in die Unendlichkeit » / « Je t'aurais suivi jusqu'à l'infini »).

Le morceau prend l'allure d'un bilan lucide et sans détour. Les deux amants réalisent qu'ils ont gâché un été magnifique par bêtise : « Nun aber, da das Kinderspiel beendet / Begreifen wir, dass es der letzte war » (« Mais maintenant que ce jeu d'enfant est fini, nous comprenons que c'était le dernier »). Dès le départ de l'autre, la pluie commence à tomber, scellant cette séparation définitive sur un constat fataliste : on ne recroise jamais ceux qui nous étaient vraiment destinés (« Weil wir nie wieder denen begegnen / Die für uns ausersehen sind »).

This song is a huge rush of hopeful energy! Nena sings about taking a leap into the future with someone, even if you don't know exactly where you're going. It's all about that feeling when you're on the edge of something new. She describes it as a wild journey, like being moths drawn to a flame: "Fliegen Motten in das Licht / Genau wie du und ich" (Moths fly into the light / Just like you and I).

The whole song is a call to be brave and just go for it. Nena insists that "Liebe wird aus Mut gemacht" (Love is made of courage) and tells her listener not to hesitate. The imagery gets really exciting with lines like "Wir fahr'n auf Feuerrädern / Richtung Zukunft durch Nacht" (We're riding on wheels of fire / Towards the future through the night). But even with all this epic, cosmic travel, the core message is simple and sweet: she asks for a hand and promises that "Die Zeit ist reif für ein bisschen Zärtlichkeit" (The time is ripe for a little tenderness).

German metal band Rammstein built one of their biggest heavy tracks around a clever pun that catches anyone learning the language. When lead singer Till Lindemann belts out "Du hast mich" (You have me), German listeners hear an immediate double meaning: "du hast" (you have) sounds identical to "du hasst" (you hate). So right from the start, the track tricks your ears into wondering whether someone possesses him or absolutely despises him. Then the sentence finally finishes with "Du hast mich gefragt und ich hab' nichts gesagt" (You asked me and I said nothing), clearing up the grammar but turning the mood icy cold.

What did this person ask? Traditional wedding vows. The lyrics quote the classic promise: "Willst du bis der Tod euch scheidet / Treu ihr sein für alle Tage?" (Do you want, until death separates you, to be faithful to her for all days?). Instead of a romantic "I do," Rammstein delivers a blunt, shouted "Nein, nein" (No, no). The track takes the solemn ceremony of marriage, strips away all the sweetness, and answers lifelong commitment with total silence followed by a flat refusal.

This song describes a relationship that feels amazing but is probably doomed. Clueso and Kat Frankie sing about a love that thrives on chaos. They like to throw themselves "Ins Bodenlose und Leere" (into the bottomless and empty) and find beauty only in things that are "kaputt ist / Und keinem gefällt" (broken / and that nobody likes). Their connection is most intense when things are dramatic; as they put it, "Nur wenn es brennt sind wir zusammen" (Only when it's burning are we together).

They see their love as a piece of music without a chorus: "Wir sind lebendige Strophen / ... Und es gibt keinen Refrain" (We are living verses / ... And there is no chorus). It's all beautiful, complex moments, but there's no stable, repeating part to hold it together. Despite this, it's easy for them to believe in the relationship and ignore the problems. But a quiet voice inside keeps whispering the classic, painful advice: "Wenn du sie liebst / Dann lass sie gehen" (If you love her / Then let her go). It's a conversation between two people who know their intense, fiery connection might be unsustainable, even if they don't want to admit it.

„ROSENROT” opowiada krótką, ponurą historię o pragnieniu, które wymaga zbyt wiele. Dziewczyna widzi różę rosnącą wysoko w górach i prosi ukochanego, żeby ją dla niej zdobył: „Ob er es ihr steigen kann” [czy może wspiąć się po nią dla niej]. Chłopak zgadza się bez wahania. Powtarzane zdanie „Was sie will bekommt sie auch” [dostaje to, czego chce] brzmi jak zasada, której nikt nie odważa się podważyć. Róża, czyli „Rosenrot” [różana czerwień], jest tu pięknym, ale niebezpiecznym celem.

Najbardziej gorzki jest refren: „Tiefe Brunnen muss man graben, wenn man klares Wasser will” [głębokie studnie trzeba kopać, jeśli chce się czystej wody]. To proste porównanie mówi, że wartościowe rzeczy wymagają wysiłku, lecz w tej historii wysiłek prowadzi za daleko. Chłopak wspina się z trudem, nie obchodzi go nawet widok, bo myśli wyłącznie o róży. W końcu kamień odrywa się spod jego butów, a on i dziewczyna spadają w przepaść. Najmocniejszy zwrot polega na tym, że jej życzenie zostaje spełnione, ale cena jest tragiczna. Powtarzalność słów „So war es und so wird es immer sein” [tak było i tak zawsze będzie] nadaje tej opowieści chłodny, niemal baśniowy ton.

This song is a massive, heartfelt thank you note to someone amazing. The singer sees this person as a force of nature who makes life better just by being in it. They don't just follow the rules; they "reißt fixe Grenzen ein" (tear down fixed boundaries) and transform boring, everyday things into something magical, like turning a dull path into "Tante Emmas wundervollen Phantasienladen" (Auntie Emma's wonderful fantasy shop).

It's a song about pure appreciation. The chorus gets straight to the point: "Und weil du mir so viel bedeutest / Bist du ein Geschenk" (And because you mean so much to me / You are a gift). The singer feels like this person was sent from heaven, arriving at the perfect moment—"Du kommst wie gerufen" (You come as if you were called for). It's a beautiful and direct way to tell someone they've made your world richer and that you feel lucky to know them.

Rammstein to mistrzowie prowokacji, a w piosence „DEUTSCHLAND” biorą na warsztat swoją ojczyznę. To nie jest prosta piosenka o miłości do kraju. To skomplikowana, pełna sprzeczności relacja, którą zespół opisuje w bardzo bezpośredni sposób. Wokalista śpiewa o Niemczech jak o osobie, z którą jest w długim, trudnym związku. Z jednej strony czuje przywiązanie, a z drugiej odrazę. Widać to idealnie w refrenie: „Deutschland! Mein Herz in Flammen / Will dich lieben und verdammen” (Niemcy! Moje serce w płomieniach / Chcę cię kochać i potępiać).

Cały utwór jest zbudowany na przeciwieństwach, takich jak „Dein Atem kalt / Das Herz in Flammen” (Twój oddech zimny / Serce w płomieniach) czy „Deine Liebe ist Fluch und Segen” (Twoja miłość jest klątwą i błogosławieństwem). Zespół zmaga się z historią swojego kraju, co słychać w kontrowersyjnej linijce „Deutschland, Deutschland über allen” (Niemcy, Niemcy ponad wszystko). To nawiązanie do historycznego hymnu Niemiec, kojarzonego z nazizmem. Rammstein nie boi się dotykać najtrudniejszych tematów, pokazując, jak skomplikowane może być poczucie tożsamości narodowej.

This song is all about the feeling of being in a relationship that just feels easy. The singer, Henning May, describes a love that isn't complicated or full of pressure. He can be completely honest, saying things like, "Es ist so einfach wenn ich sage nein" (It's so easy when I say no), because his partner gives him space and time. It's built on small, perfect moments: watching his partner get excited about snow, laughing between kisses in the morning, and feeling totally seen.

He gets to a point where he can share his deepest secrets, singing, "Ich kann dir erzählen was ich mir selbst verschweige" (I can tell you what I keep secret even from myself). All this ease and comfort leads him to hope that maybe, just maybe, this feeling could last forever. The repeated word "vielleicht" (maybe) is the heart of the song. It’s not a loud declaration of forever, but a quiet, hopeful wish that this wonderful, easy love will stay.

This song is about one of the most awkward moments in any breakup: giving back your ex's stuff. The singer meets his ex at a bus stop, and he's brutally honest about why they're even seeing each other. It hurts, he says, that the only reason they're meeting is "Weil bei mir so viel Zeug von dir rum liegt" (Because so much of your stuff is lying around my place). He can't stand seeing it anymore. The whole situation is a mess of mixed feelings. He sings, "Ich halt' dich nicht fest / Und lasse dich nicht los" (I don't hold you tight / And I don't let you go), which perfectly describes that feeling of being stuck after a relationship ends.

What makes the song so memorable is the chorus: "Es tut mir Leid Pocahontas" (I'm sorry Pocahontas). Calling his ex 'Pocahontas' is such a specific and personal detail. It must have been an affectionate nickname, and using it while he's apologizing makes the whole thing feel more painful and real. He even admits that staying together just because they've been a couple for a long time is a "verdammt beschissner Grund" (a damn crappy reason). It's that kind of blunt, sad honesty that makes this song hit so hard.

Ever had someone you just can't get out of your head, even years later? This song is all about that feeling. The singer describes someone who is completely stuck on a person they last saw seven years ago. They are haunted by the question, "Was wäre wenn?" [What if?]. It's a simple, powerful idea. The past is remembered as "wunderschön" [beautiful], but it's also a trap.

The song gets really specific about this feeling. The person wakes up in the morning and for a few seconds, forgets what's real, thinking "dass sie noch da ist" [that she's still there]. Even after all this time, they still talk about her constantly. But there's a hint of hope, or at least acceptance. When it all gets too much, the person wants to go "wieder auf das große Meer hinaus" [out to the big sea again], realizing that life does go on. But the final line is a tough truth: "Sowas kriegst du aus'm Herzen nich' mehr raus" [You can't get something like that out of your heart anymore].

V písni „Zeit“ od německé kapely Rammstein se čas chová jako řeka, která člověka stále unáší vpřed. Text začíná protiklady: „Wir sehen, doch sind wir blind“ [Vidíme, ale jsme slepí] a „Wir werfen Schatten ohne Licht“ [Vrháme stíny bez světla]. Lidé podle něj spějí od mládí k nouzi, od života ke smrti, přestože pořád pokračují dál. Obraz břehu a nekonečna je krásný i trochu děsivý: člověk je „Gefangen so im Fluss der Zeit“ [Uvězněný v proudu času] a nemůže vystoupit.

Nejvýraznější je prosba v refrénu: „Bitte bleib steh’n, bleib steh’n“ [Prosím, zastav se, zůstaň stát]. Vypravěč chce zastavit dokonalý okamžik, když leží v náručí druhého člověka, ale teplé tělo brzy vychladne a „die Zeit kennt kein Erbarmen“ [čas nezná slitování]. Konec přijde právě ve chvíli, kdy je všechno nejkrásnější: „Aufhör’n, wenn’s am schönsten ist“ [Skončit, když je to nejkrásnější]. Píseň tak spojuje něhu s neúprosným pohybem hodin. I když člověk prosí „Augenblick, verweile doch“ [Okamžiku, setrvej], čas dál běží.

Alman pop müziğinin sevilen ismi Mark Forster, "Rettest Du Mich" şarkısında içsel bir tükenmişlik anında sevdiklerine tutunma çabasını anlatıyor. Nakarat boyunca sürekli aynı samimi soruyu soruyor: "Wenn ich dich brauch, rettest du mich?" (Sana ihtiyacım olduğunda beni kurtarır mısın?) ve kimse kalmadığında oradan çekip alınmayı bekliyor. Şarkının kalbinde, etrafındaki sevgi akıp giderken hissizleştiğini itiraf eden dürüst bir yakarış var: "Liebe geht 'raus, ich fühle nichts" (Sevgi çıkıp gidiyor, hiçbir şey hissetmiyorum).

Şarkının sözleri popüler kültüre ve gündelik hayata harika göndermelerle dolu! Örneğin "Was los, Ted Lasso?" (Ne haber Ted Lasso?) diyerek o meşhur dizideki her şeye rağmen sırıtan, aşırı neşeli karaktere takılıyor ve soruyor: Gülümseme bir gün biterse ne olacak? Hız göstergesine dikkat çeken "Und was sagt der Tacho?" (Hız göstergesi ne diyor?) sorusuyla, kazadan sonra pişman olmanın fayda etmeyeceğini hatırlatıyor. Üstelik "Ich bin nicht Picasso / Nicht geil, wenn ich mein'n Kopf zerleg" (Ben Picasso değilim / Kafamı parçalara ayırmak hiç hoş değil) diyerek, kafasının içindeki karmaşayı ünlü ressamın kübist tarzıyla mizahi bir dille kıyaslıyor. Almancada "geil" sokak dilinde normalde 'harika, süper' demek, ama Mark Forster bunu olumsuz yaparak parçalanmış bir ruh halinin hiç de havalı olmadığını belirtiyor. Yolunu yanlış çizse bile yanında kalan birine duyduğu ihtiyacı anlatırken, hem modern göndermeleri hem de çaresizliği tek bir potada eritiyor.

Alman şarkı yazarı Dota Kehr ve Rainald Grebe'nin bu parçası, iki insanın inat yüzünden birbirini nasıl tamamen ıskaladığını anlatıyor. Sözlerdeki mesafe hissi daha ilk cümleden yüzümüze çarpıyor: „Du hast mir bis zuletzt noch 'Sie' gesagt und schwiegst per 'du'“ (Son ana kadar bana 'Siz' dedin ama suskunluğun 'sen'liydi). Almancada resmi hitap olan "Sie" ile samimi "du" arasındaki bu zıtlık, tarafların duygularını saklamak için nasıl bir kibarlık kalkanı arkasına sığındığını gösteriyor. Biri gururundan tek kelime etmiyor („Kein Ton aus meinem, denn ich hatte Ehre“ - Benim ağzımdan çıt çıkmadı çünkü gururum vardı), diğeri ise sanki sonsuz vakti varmış gibi sessiz kalıyor.

İşin trajikomik tarafı, iki taraf da her şeyin farkında. Başkalarıyla gülünse, istenmeyen iltifatlar kabul edilse bile asıl gözler hep birbirinin üzerinde. Ama gurur kazanıyor; „Wir haben ihn mit dummer Hand verschwendet“ (Onu aptalca bir elle harcadık) diyerek mükemmel bir yazı boşa harcadıklarını itiraf ediyorlar. Ayrılık konuşması yapılıp biri kapıdan çıktığı anda yağmur başlıyor. Şarkının veda cümlesi ise biraz acımasız ve net: Bizim için kader olan o insanlarla hayat boyu sadece bir kez karşılaşırız ve o anı kaçırdık.

„Links 2 3 4“ si pohrává s obrazem srdce a s politickým významem slov vpravo a vlevo. Vypravěč se ptá, zda lze srdce zlomit, oslovit, mučit nebo ukrást, a pak odmítá očekávání ostatních: „Sie wollen mein Herz am rechten Fleck“ [Chtějí, abych měl srdce na správném místě, doslova na pravém místě]. Jenže když se podívá dolů, srdce mu bije vlevo, tedy tam, kde se skutečně nachází v lidském těle. Němčina tu navíc využívá slovní hříčku: „rechts“ může znamenat vpravo i politicky pravicově, zatímco „links“ znamená vlevo i levicově. Text ale neříká, ke které konkrétní politické straně nebo ideologii se vypravěč hlásí. Říká hlavně: jeho srdce není tam, kam ho chtějí zařadit druzí.

Druhá část rozvíjí otázky o srdci: může zpívat, prasknout, být čisté nebo být z kamene? Může se darovat, nést dítě a přemýšlet „srdcem“? Vedle těchto skoro pohádkových představ zní pochodové „Links Zwo Drei Vier“ [Vlevo, dva, tři, čtyři], které působí úmyslně stroze a vojensky. A pak přijde suchá pointa: „Der Neider hat es schlecht gewusst“ [Závistivec se špatně domníval]. Píseň tak staví tělesný fakt, rytmus pochodu a společenské nálepkování vedle sebe. Je to přímé, trochu provokativní a velmi snadno zapamatovatelné, zvlášť díky neúnavnému opakování slova „Links“ [Vlevo].