Lyrics & breakdown
Demo lines only. Select a line number to copy a stable deep link.
- 01
[Produced by DJ Premier]
- 48
You don't like me, clown? Now, you wanna take me down?
49If I bring my face around, you gon' do what? You butt
50Your crew knew I blew up, I been shinin'
51Baseball diamonds, dick rings for your chicklings
Block noteUses gendered or sexual humiliation
TargetJay-Z
MeaningWhat it means: In “Baseball diamonds, dick rings for your chicklings,” Nas uses gendered or sexual language to question Jay-Z's masculinity or humiliate the target in front of the audience. Why it was said: The track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.” The tactic tries to trigger an emotional reply and damage Jay-Z's public image, even though the framing itself can reproduce homophobic or sexist stereotypes.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 53
Fuck you say, girlie mouth? Get it crunk like the Dirty South
54And I know you see me flossed out, multi-milli-i
55Hear your bitch talk about me, you give her the cold eye?
Block noteMakes the rejection unmistakably direct
TargetJay-Z
MeaningWhat it means: In “Fuck you say, girlie mouth? Get it crunk like the Dirty South,” Nas drops any pretense of a subliminal and rejects Jay-Z in blunt, unqualified language. Why it was said: The track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.” The direct wording removes plausible deniability: listeners are not left guessing whether Jay-Z is part of the dispute or whether a response is being invited.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 61
I'll be with the most grimy killers (What, nigga?!), and they all look clean
62Who put bombs underneath cars, if you want beef, then start (Uh)
63Your next stop is to the graveyard
Block noteForces the dispute into a direct contest
TargetJay-Z
MeaningWhat it means: In “Who put bombs underneath cars, if you want beef, then start (Uh),” Nas addresses Jay-Z as an opponent who must prove the claims being made rather than rely on reputation. Why it was said: The track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.” The challenge narrows the argument to performance under pressure, where refusing or failing to answer can itself be presented as a loss for Jay-Z.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 74
You too feminine to kill again, jail got you soft
75You talk but you scared to go back up North
76Keep your face twisted, but you don't really want nothin'
77Talk a bunch of shit, motherfucker, and stop frontin'
Block noteUses legal trouble as a pressure point
TargetJay-Z
MeaningWhat it means: In “You too feminine to kill again, jail got you soft,” Nas invokes a case, arrest, imprisonment, or legal vulnerability to define Jay-Z through consequences outside the recording booth. Why it was said: The track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.” The reference makes the attack feel verifiable and immediate, using a public consequence to challenge the control and invulnerability Jay-Z projects.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 79
Be on the run again, catch you at the Comfort Inn
80Shoot up your door, bust in on you and your whore
81Put y'all in bags, clean the blood off of the floor
Block noteImagines the battle as physical destruction
TargetJay-Z
MeaningWhat it means: In “Shoot up your door, bust in on you and your whore,” Nas converts lyrical defeat into death, shooting, burial, or bodily harm directed at Jay-Z. Why it was said: The track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.” The violent image makes the response sound final: instead of proposing an endless exchange, the artist depicts Jay-Z as unable to return for another round.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 83
I got .9's — every color, shape and design
84I send killers of every race to put one in your spine
85Two in your ear, get your crew, who do I fear?
Block noteCalls the target's toughness an act
TargetJay-Z
MeaningWhat it means: In “Two in your ear, get your crew, who do I fear?,” Nas portrays Jay-Z as frightened or unwilling to stand behind the aggression shown in public. Why it was said: The track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.” A diss threat depends on the audience believing the speaker will confront the opponent; calling Jay-Z afraid is designed to empty that threat of force.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 87
I think like you do; roll with about two irons
88Catch me flyin' high in the aircraft winin' and dinin'
89You die? Then, we laugh, you bitch-ass
Block noteImagines the battle as physical destruction
TargetJay-Z
MeaningWhat it means: In “You die? Then, we laugh, you bitch-ass,” Nas converts lyrical defeat into death, shooting, burial, or bodily harm directed at Jay-Z. Why it was said: The track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.” The violent image makes the response sound final: instead of proposing an endless exchange, the artist depicts Jay-Z as unable to return for another round.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 91
While I'm gettin' head in a Lear jet bathroom
92With all my goons, all my ices, suitcases
93Full of paper, not money; it's bank statements
Block noteTurns money and possessions into leverage
TargetJay-Z
MeaningWhat it means: In “The rich ass, they gauze up your stab wounds,” Nas contrasts financial power or possessions with Jay-Z's alleged lack of money, access, or control. Why it was said: The track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.” The comparison converts status into material evidence and is meant to make Jay-Z's success claims look hollow beside something listeners can picture and measure.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 120
[Outro: "Hydro Drops" weed skit]