Sort of a Freudian set-up here: the Marx Brothers as the wild id, the ego (Victor?) trying to negotiate his id and superego, and Slavoj Zizek the superego whose work is rooted in psychoanalytic theory (even though Zizek often makes deliberately provocative statements and is about as id-dy as academics get)
This comes from a Zizek’s psychoanalytical interpretation of the Marx Brothers in which he states that every one the brothers can be associated with one of the parts of the psyche: Groucho is the superego, Harpo is the id and Chico is the ego.
This is explained in Zizek’s documentary A Pervert’s Guide to Cinema. You can see the excerpt here.
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