;Dare I ask what you found funny about it?
The music itself, for one. It reminded me of a popular song from back when I was a kid called "Elephant Walk". That had a similar funky, "lumbering" sort of syncopated rhythm like some big clumsy animal's gait. And also weirdly reminiscent of eastern European Jewish folk music. Though, how that might relate is beyond me.
Then the lyrics are wonderfully cryptic so that you don't realize who is speaking and what they're really saying at first. The true level of their 'crazy' only gets revealed a little more as each line gets delivered. Until you realize the speaker is completely out of their mind.
The part that made me laugh out loud was when the stalker reveals his fantasy about "you could be my wife, we could get into a fight, I would say "OK, you're right", and then you'd would kiss me goodnight. Exactly the kind of insane detail that I imagine those stalkers really do sit around and fantasize about.
There's also the wild juxtaposition of having the stalker's mind being delivered to us via Billie Eilish's voice. The whole song is gloriously absurd, and yet very 'catchy' and well done at the same time. And if you call that phone number at the very end of the sing, you actually get a recording of Billie answering the phone.
This whole album is an incredibly sophisticated musical odyssey through the mind and emotions of Billie Eilish, and as I was listening to it I was reminded of the Abbey Road album of the Beatles where many of the songs would morph and transition into the next song and the next, to keep the odyssey going. And yet suddenly there was "Maxwell's Silver Hammer" written by Ringo. A little bizarre 'bop' just thrown in for the fun of it. I kept thinking that "Diner" on the Billie Eilish album was like Ringo's Maxwell's Silver Hammer song on the Abbey Road album. I remember laughing out loud the first time I heard that song. too.
Ringo didn't get enough credit for those fun, funky songs he contributed to the Beatles discography.