You know that feeling when a bassline hits and suddenly everyone in the room is humming the same three notes? That was 2017. Portugal. The Man dropped a track that felt like a vintage thrift store find but sounded like the future. It was everywhere. It still is. But the words to feel it still aren't just catchy filler designed to sell sneakers or fill up a Coachella setlist; they are a weird, jagged collage of 1960s political activism and modern-day apathy.
It’s a song about being a "rebel just for kicks." Honestly, that line alone captures the entire vibe of the late 2010s. We were all performative. We were all tired.
The Surprising Origins of the Lyrics
Let's get one thing straight: the band didn't just pull that melody out of thin air. If the chorus sounds familiar, it's because it’s a direct melodic lift from The Marvelettes’ 1961 classic "Please Mr. Postman." They’ve been very open about this. In fact, they gave the original songwriters credit because they knew the DNA of that song was baked into the words to feel it still.
John Gourley, the lead singer, has talked about how the song started as a jam session. They were messing around with that "Postman" melody and it just clicked. But the lyrics? Those are a different beast. They touch on the year 1966, a pivotal moment for the Civil Rights Movement and the escalation of the Vietnam War. When Gourley sings about being a "rebel just for kicks now," he’s poking fun at himself and perhaps all of us. Are we actually standing for something, or are we just enjoying the aesthetic of rebellion?
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Why the Message Hits Different in 2026
It’s been nearly a decade since the song took over the charts. You’d think it would feel dated by now. It doesn’t. The words to feel it still resonate because the "coming of age" struggle is permanent.
"I'm a rebel just for kicks, now / I been feeling it since 1966, now."
Think about that. In 1966, the stakes were life and death. Draft cards were being burned. Today, rebellion often looks like a black square on Instagram or a snarky tweet. The song bridges that gap with a shrug and a dance beat. It acknowledges the weight of history while admitting that, yeah, sometimes we’re just going through the motions. It’s self-aware pop music. That’s a rare breed.
The lyrics also dive into this idea of "the world is ending." Or at least, it feels like it. "Is it coming? Is it coming? Is it coming back?" This repetitive questioning feels like a panic attack you can dance to. It’s the sound of a generation waiting for the other shoe to drop while trying to stay "cool" in the process.
Breaking Down the Verse: "Got another mouth to feed"
There’s a specific line in the first verse that often gets overlooked: "Got another mouth to feed / Leave it with a baby sit, usher, of the 1960s."
This is where things get interesting. Gourley has mentioned in various interviews, including a deep dive with Genius, that this refers to the transition of responsibilities. It’s about being a parent—Gourley has a daughter—and realizing that the world you’re handing off is messy. The "usher of the 1960s" is a nod to the elders who passed down their protests, their music, and their baggage to us.
We are the babysitters of a legacy we didn't ask for.
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The song is short. Barely two minutes and forty-three seconds. It doesn't overstay its welcome. It gets in, asks if you're still "feeling it," and leaves. That brevity is part of why the words to feel it still stayed in the public consciousness. It’s a literal earworm designed for repeat play.
The Production Paradox
Brian Burton, better known as Danger Mouse, produced this track. You can hear his fingerprints all over it. He’s the master of making things sound dusty and expensive at the same time. The lyrics need that production to work. If this were a folk song, it would be too depressing. If it were a heavy metal track, it would be too aggressive.
By wrapping these lyrics about political exhaustion and generational shifts in a funk-pop wrapper, the band pulled off a magic trick. They made us sing along to a critique of our own laziness.
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Misconceptions About the Meaning
A lot of people think it’s just a "party song." It’s not. Or, it is, but it’s a party at the end of the world.
Another common mistake? People think the "1966" reference is just because it rhymes with "kicks." While it does rhyme perfectly, the band has consistently pointed to the political climate of that year as a specific inspiration. It was the year the Black Panther Party was founded. It was a year of massive upheaval. Comparing that era to our current "just for kicks" rebellion is a pointed choice. It's a critique, not just a catchy line.
Actionable Insights for Your Next Listen
If you want to actually "feel" the depth of these lyrics next time the song comes on the radio, try these three things:
- Listen for the "Postman" interpolation. Notice how they took a song about waiting for a letter and turned it into a song about waiting for a revolution.
- Focus on the bassline. The lyrics are high-energy, but the bass is steady and driving. It represents the "still" in the title—the part of us that stays grounded while the world spins out.
- Read the 1966 history. Spend five minutes looking up what happened in the summer of '66. Then listen to the song again. The "rebel" line will hit you with a lot more irony.
The words to feel it still aren't just a relic of 2017. They are a reminder that even when we feel like we’re just playing at being "rebels," the history we’re standing on is very real. The song is a mirror. It asks if you’re actually involved in the world or if you’re just enjoying the soundtrack of the collapse.
Next time you hear it, don't just hum along. Think about the "mouth to feed." Think about the usher. Think about whether you’re actually feeling it, or if you’re just a rebel because it’s easier than being a leader.