Lyrics & breakdown
Demo lines only. Select a line number to copy a stable deep link.
- 01
[Produced by Ron Browz]
Block noteMakes the confrontation explicit
TargetJay-Z
MeaningWhat it means: In “Fuck Jay-Z,” Nas addresses Jay-Z directly and makes the situation described in the quoted line the point of confrontation. 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.” Naming or plainly addressing Jay-Z removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 21
Blows up, no guts left, chest, face gone
22How could Nas be garbage? Semi-autos at your cartilage (Uh)
23Burner at the side of your dome, come out of my throne
Block noteContests who deserves the top position
TargetJay-Z
MeaningWhat it means: In “Burner at the side of your dome, come out of my throne,” Nas turns rank, legacy, or leadership into the issue and argues that Jay-Z's claim to the position is undeserved. 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 line identifies the prize behind the feud—control of reputation—and asks whose record supports the title rather than whose claim went unchallenged.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 48
With your hands out for my money, man, how much can I take?
49When these streets keep callin', heard it when I was sleep
50That this Gay-Z and Cock-a-Fella Records wanted beef (What?)
Block noteMakes the confrontation explicit
TargetJay-Z
MeaningWhat it means: In “Y'all some well-wishin' (Bitch niggas), friendly-actin', envy-hidin' snakes,” Nas addresses Jay-Z directly and makes the situation described in the quoted line the point of confrontation. 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.” Naming or plainly addressing Jay-Z removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 56
That you better than B.I.G., dick-suckin' lips (Ha)
57Why don't you let the late, great veteran live?
Block noteUses gendered or sexual humiliation
TargetJay-Z
MeaningWhat it means: In “That you better than B.I.G., dick-suckin' lips (Ha),” 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.”
- 63
Ill Will, rest in peace, let's do it, niggas
- 70
Y'all niggas deal with emotions like bitches
71What's sad is I love you 'cause you're my brother, you traded your soul for riches
72My child, I've watched you grow up to be famous
73And now I smile like a proud dad watchin' his only son that made it
Block noteFrames the attack in moral terms
TargetJay-Z
MeaningWhat it means: In “What's sad is I love you 'cause you're my brother, you traded your soul for riches,” Nas uses religious or moral imagery to cast Jay-Z's behavior as corrupt, condemned, or beyond ordinary rivalry. 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.” That language raises the stakes from winning a record to deserving judgment, giving the retaliation the posture of a sentence rather than another insult.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 75
Were you abused as a child? Scared to smile, they called you ugly?
76Well, life is harsh, hug me, don't reject me
77Or make records to disrespect me, blatant or indirectly
Block noteTurns the target into a visual punchline
TargetJay-Z
MeaningWhat it means: In “Were you abused as a child? Scared to smile, they called you ugly?,” Nas reduces Jay-Z to an exaggerated physical caricature instead of engaging the target's preferred public image. 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 visual insult is easy for an audience to remember and repeat; the goal is to make ridicule of Jay-Z travel beyond the song itself.
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
No jail bars, Jigga, no pies, no case
84Just Hawaiian shirts, hangin' with little Chase
85You a fan, a phony, a fake, a pussy, a Stan
Block noteTurns the target's own work into ammunition
TargetJay-Z
MeaningWhat it means: In “You a fan, a phony, a fake, a pussy, a Stan,” Nas quotes or reshapes a recognizable phrase associated with Jay-Z, using the target's own catalogue or public image as the setup for the insult. 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 callback is meant to deny Jay-Z control of a familiar signature: the audience recognizes the source, but now hears it serving the opponent's punchline.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 103
And your man stabbed Un and made you take the blame
104You ass, went from Jaz to hangin' with Kane, to Irv, to B.I.G
105And Eminem murdered you on your own shit
Block noteAttacks the target's street credibility
TargetJay-Z
MeaningWhat it means: In “With whiskers like a rat, compared to Beans, you wack,” Nas links Jay-Z with police protection or informing, casting doubt on the hard public persona used in the feud. 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 point is to expose a contradiction between Jay-Z's threatening image and alleged reliance on authorities, making later threats sound performative rather than credible.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”
- 111
Shawn Carter to Jay-Z, damn, you on Jaz dick
112So little Shawny's gettin' gunned up and clapped quick
113How much of Biggie's rhymes is gon' come out your fat lips? (Nigga)
Block noteTurns the target into a visual punchline
TargetJay-Z
MeaningWhat it means: In “How much of Biggie's rhymes is gon' come out your fat lips? (Nigga),” Nas reduces Jay-Z to an exaggerated physical caricature instead of engaging the target's preferred public image. 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 visual insult is easy for an audience to remember and repeat; the goal is to make ridicule of Jay-Z travel beyond the song itself.
ContextThe track is part of the Nas–Jay-Z feud, which moved from subliminal references to direct exchanges including “Takeover,” “Ether,” and “Super Ugly.”