Piano and acoustic guitar settle into that repeating sway; it’s steady, but the harmony keeps leaning a little sideways.

Yorke sings “Karma police” almost calmly, and that plain delivery makes the accusation feel colder.

The piano stays square while the words make him sound mechanical: maths, fridge buzz, detuned radio.

The second verse brings in another target, but the band still keeps the room narrow and measured.

The chorus is more singable: “This is what you get” turns the judgment into a chant rather than a shout.

Now the title phrase turns inward—“I’ve given all I can”—with the same steady track underneath.

“Still on the payroll” makes the whole ritual feel oddly administrative, and the accompaniment just keeps carrying it forward.

On the chorus return, the vocal sits in a slightly thicker texture; the tune lifts again without really settling.

When “I lost myself” arrives, the pointing finger relaxes; the repetition opens up, but it also traps the voice in the phrase.

The final return is familiar now, and the texture starts to blur around it instead of arguing back.

After the last “lost myself,” the warmth of the piano and guitar doesn’t cancel the unease; it lets it hum out.