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While I recognize that you probably aren't criticizing her, I feel compelled to counter some of the harsher terminology used here for the sake of my own comfort; the word "nymphomaniac" is particularly disconcerting since it's an archaic term used to describe women who were perceived as being "too sexual" in a society where proper female sexual expression was basically non-existent. Compared to most pop music worldwide, Hikki's is rather saintly in content. As for being a "serial cheater," I like to think that she just has a hard time being monogamous; it isn't for everyone. I think it's also important to note that her Japanese music is absent much of the sexual innuendo of her English-language works, so saying that "90%" of her music is sexual is categorically inaccurate- 90% of her English music is, but I would posit that that's a representation of her unflinching honesty. Straight out from "First Love," Hikki has always written lyrics which inadvertently arouse conflict despite being completely appropriate contextually, sexual or not. I think with the image she's built of herself in Japan, however, she probably finds it simpler to come to America and sing about things that wouldn't mesh with her Japanese persona rather than fighting that construct directly; it's sort of a cop out, but not many singers have that advantage and if it works for her it works for me. (Again, I want to reassure you I'm not outright disagreeing with you, just expanding on your thoughts with my own).

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I would agree with you except that songs like "Tippy Toe" and "Dirty Desire" don't exactly strike me as aiming for tact, if you know what I mean. I do think historically that Hikki has shown herself as being more comfortable speaking through her music than on television or radio, however- she's at home in the studio and she doesn't get a lot of the fuss of the fandom.

And on that note, in regard to the original question, I believe that Hikki wrote and recorded the "microphone" part of "Easy Breezy" for the exact reason she stated- because she got a new microphone. What I think she didn't say was that it happened to coincide perfectly with the context of the song and would work as a fantastic double/triple/quadruple entendre (and to anybody who doesn't think she's capable of this kind of pun scheme, I give you "You Make Me Want to Be a Man"). Artistically, I think her referencing the microphone again in "Automatic Part II," in a similar manner, is indicative of yet another correlation she's trying to draw between Utada and Hikaru Utada- same person, different outlets. The meaning of the word "microphone" is doubtlessly sexual, but it's also relatable to her as a singer and a musician, which plays right into her multiple performer syndrome; as Utada she is playful, sexual, quirky; as Hikaru Utada she is experimental, romantic, unique. One might sound more polished or appealing than the other, but in reality they're two sides of the exact same coin, and you can't have one without the other. :3