Song Meaning
The lyrics paint a stark picture of American expansion, beginning with the raw, untamed 'grass grows, a prairie' and a 'wilderness across a continent.' This natural landscape is then systematically reshaped, 'cleared out and make it / In our image.' This transformation is presented not as a choice, but as an ingrained, almost instinctual drive, a 'second nature' that dictates the creation of backyards, driveways, and the relentless movement symbolized by 'covered wagons rushing.'
The core tension lies in the questioning of this relentless development. After detailing the vastness of what has been built – 'farms and the blood across a prairie,' 'endless endless fields and cities,' 'swimming pools,' and 'highways' – the narrator asks, 'what was it for, this country?' This profound doubt is amplified by the repeated, mournful 'No, no, no,' suggesting a deep regret or disillusionment with the outcome of this national project. The lyrics imply that the very act of building this 'second nature' has led to a loss of something vital, a foolishness born of youth and ambition.
The most striking craft element is the recurring phrase 'second nature,' which evolves from a description of human instinct to a critique of a national identity built on conquest and alteration. Initially, it seems to describe an inherent human tendency to shape the environment. However, as the lyrics progress, it becomes clear that this 'second nature' is the very process of American expansionism, a cultural imperative that replaces the natural world with human constructs like 'parking lots' and 'motels on the canyon.' The final lines, 'The grass grows, we take it / We want it / It's second nature to us,' serve as a chillingly simple summation of this destructive impulse, presented as an unchangeable, inherent trait.
This lyrical construction is effective because it grounds abstract concepts of national identity and progress in concrete, relatable imagery of landscape alteration. The contrast between the vast, natural 'prairie' and the man-made 'parking lots' creates a palpable sense of loss. The repeated 'No, no, no' acts as an emotional release, a collective sigh of regret that resonates with the listener's potential unease about unchecked development and the cost of progress.
