I Have Been in You
Frank Zappa Lyrics

Na, na-na-na-na
Nonsense words, possibly to indicate casualness and playfulness.

Ooh-ooh, na, na-na-na-na
Further nonsensical words, possibly used as a way to lighten the mood.

Ooh-ooh, ooh-ooh
Still more playful sounds that could be meant to convey a lighthearted tone.

Well, I have been in you, baby
The artist has been physically inside the person they're addressing.

You have been in me
The person they're addressing has also been physically inside the artist.

And we have been so intimately
The relationship between the singer and the person they're addressing has been close and personal.

Entwined
Their closeness has involved a deep level of connection or involvement with each other.

And it sure was fine
The artist enjoyed this connection and feels positive about it.

And so you see
The artist is drawing a conclusion or making a point based on what they've just said.

We have be so together
The connection between the artist and the person they're addressing has been very strong.

I thought that we would never
At some point, the singer believed the connection would never end.

Return from forever
The artist believed the connection would last forever.

(Return from forever)
Repeats the previous line for emphasis.

You have been in me
Reiteration of an earlier line that emphasizes the dual nature of the connection between the two people.

And understandably
This connection is something that could easily be understood by others.

I have been in and outta you (in and outta you, in and outta you)
The artist has had a physical relationship that involved going in and out of the person they're addressing repeatedly.

And everywhere
The artist has been inside the person they're addressing in many different ways or contexts.

You want me to (in and outta you)
The person they're addressing has expressed a desire for this physical connection.

Yes, you know it's true
Reiteration of the idea that the physical connection is a reality.

And while (I was inside)
The artist is reflecting on some aspect of their physical connection.

I mighta been (undignified)
The artist may not have acted in a way that was particularly dignified while they were inside the person they're addressing.

And that is maybe (why you cried)
The artist is speculating that the reason the person they're addressing cried had to do with the way the artist was behaving during their physical connection.

I don't know
The singer is not entirely sure what caused the person they're addressing to cry.

Maybe so, but what's the difference now?
The artist feels that the reason for the crying is ultimately not relevant at this point.

(I have been in you, baby)
Reiteration of an earlier line that emphasizes the physical connection between the two people.

(You have been in me)
Reiteration of an earlier line that emphasizes the dual nature of the physical connection.

Aw, little girl, there ain't no time to wash yer stinky hand
The singer is using a somewhat derogatory term to address the person they're speaking to and letting them know that they should not worry about washing their hands.

Go 'head and roll over, I'm goin' in you again
The artist is indicating that they want to physically connect with the person they're addressing again and telling them to roll over so that the artist can do so.

I'm goin' in you again
Reiteration of the idea that the artist wants to physically connect with the person they're addressing again.

And later, when we get through
The singer is implying that the physical connection between the two people will continue for some time.