Bad Girl
Avril Lavigne Lyrics

Just lay your head in daddy's lap, you're a bad girl
This line is a suggestive invitation to the listener to adopt a submissive persona. It is a fetishisation of power dynamics between a mentor-like figure and a subordinate, implying that submissiveness is inherently 'bad'.

I'll let you walk all over me, me
This line suggests that the singer is willing to be taken advantage of, feeling powerless and desperate for attention. This creates a power dynamic where the listener has complete control over the singer.

You know that I'm a little tease, tease / But I want it pretty please, please
This is a flirtatious come-on but it also reveals that the singer feels uncomfortable with the power dynamics she has established, as she seeks validation from the listener.

You know, you know, you know, I'm crazy / I just wanna be your baby / You can fuck me, you can play me / You can love and you can hate me
This line highlights the artist's emotional instability, revealing her willingness to be manipulated in any way by the listener, from extreme pleasure to painful hate. It reinforces the idea that the artist is powerless in the relationship, becoming whatever the listener wants her to be.

Miss me, miss me, now you wanna kiss me
This line suggests that the artist is teasing the listener and holding power over them, using her attractiveness and desperate need for validation as a means of controlling them.

Choke me because I said so / Stroke me and feed my ego / I've been a bad girl, don't you know? / (Don't tell me what to do)
This line implies that the singer finds pleasure in extremity, enjoying being told what to do and being dominated by the listener. It reinforces her sense of submissiveness, seeking control from the listener while at the same time insisting on her independence.

Come get it now or never / I'll let you do whatever / I'll be your bad girl, here we go
This line suggests the singer's willingness to engage in extreme behaviour in order to maintain the relationship's dynamic. The singer is willing to relinquish control and put herself entirely in the hands of the listener.

Baby / You know I want a little taste, taste / So let me take you all the way, way / You know you'll never be the same, same
This line reinforces the power dynamic which places the listener in control of the relationship. The artist is demanding and desperate, using her attractiveness to manipulate the listener into satisfying her desires. She insists that the listener won't be disappointed, revealing her confidence that the relationship's dynamic will remain intact.

One night / You won't forget the rest of your life / So come on over to the wild side / Buckle up and, baby, hold on tight
This line implies that the relationship between speaker and listener is heading for a heady climax. The artist is inviting the listener to embrace the most extreme aspects of their dynamic, reveling in a transgressive, dangerous relationship.

We both know that you love me 'cause I'm so bad
This line reinforces the idea that the artist is aware of the power dynamics in their relationship. She is knowingly using her attractiveness and willingness to be submissive to manipulate the listener into remaining in the relationship, insisting that she is the 'bad girl' they desire.

I've been a bad girl / I'll be your bad girl
This line is a reiteration of the identity the singer has assumed within the relationship, allowing the listener complete control over her actions and validating the listener's position of power.

Bad, bad, bad, bad girl
This line is a reframing of 'badness' as a kind of celebratory identity, embracing her role as a submissive to the listener's dominant power. It reinforces her willingness to be viewed in this light while at the same time subversively challenging any assumptions of power that might come with this role.