Go to Sleep

1. 01

   I ain't gonna eat, I ain't gonna sleep

   Multi-line diss block

   02

   Ain't gonna breathe 'til I see what I wanna see

   03

   And what I wanna see is you go to sleep in the dirt

   04

   Permanently, you just bein' hurt

   05

   This ain't gonna work for me, it just wouldn't be

   06

   Sufficient enough 'cause we are just gonna be

   07

   Enemies as long as we breathe, I don't ever see

   08

   Either of us comin' to terms where we can agree

   09

   There ain't gonna be no reasonin' speakin' with me

   10

   You speak on my seed, then me no speak-a Inglés

   11

   So we gonna beef, and keep on beefin' unless

   12

   You're gonna agree to meet with me in the flesh

   13

   And settle this face-to-face, and you're gonna see

   14

   A demon unleashed in me that you've never seen

   15

   And you're gonna see this gangster pee on himself

   16

   I see you, D12, and thanks, but me need no help

   17

   Me do this one all by my lonely, I don't need fifteen of my homies

   18

   When I see you, I'm seein' you, me and you only

   19

   We never met, but best believe you gon' know me

   20

   When I'm this close to see you exposed as phony

   21

   Come on, bitch, show me! Pick me up, throw me!

   22

   Lift me up, hold me, just like you told me

   23

   You was gonna do, that's what I thought, you're pitiful

   24

   I'm rid of you, all of you, Ja, you'll get it too

   Block noteAnswers Benzino's threats and pulls Ja Rule into the warning

   TargetBenzino

   MeaningEminem says he will not rest until his enemy is permanently gone, rejects any prospect of reconciliation after the target spoke about his daughter, and demands a face-to-face encounter. He says he needs no D12 backup, challenges the target to carry out a threat to lift and throw him, calls him a phony, and finally tells Ja Rule that he is also included.

   WordplayGo to sleep is a death euphemism. Speak on my seed refers to Hailie; me no speak-a Ingles theatrically ends negotiation. Pick me up/throw me/lift me up/hold me quotes Benzino's physical threat back at him, while all of you/Ja broadens the address.

   ContextThe principal referent is Benzino, who had threatened to manhandle Eminem; the last line explicitly adds Ja Rule. The threats are battle-rap rhetoric, not instructions or verified plans.

2. 25

   Now go to sleep, bitch, die, motherfucker, die

   Multi-line diss block

   26

   Ugh, time's up, bitch, close your eyes

   27

   Go to sleep, bitch (What?), why are you still alive?

   28

   How many times I gotta say, "Close your eyes"?

   29

   And go to sleep, bitch (What?), die, motherfucker, die

   30

   Bye, bye, motherfucker, bye, bye

   31

   Go to sleep, bitch (What?), why are you still alive?

   32

   Why? Die, motherfucker, ah, ah, ah, go to sleep, bitch

   Block noteTurns the title into a repeated death command

   TargetBenzino

   MeaningThe chorus repeatedly orders the opponent to die, asks why he is still alive, and frames the confrontation as time having run out.

   WordplaySleep, close your eyes, time's up, bye-bye, and die all sustain one extended euphemism for killing; the childish cadence makes the threat more taunting.

   ContextThe chorus can apply to both Benzino and Ja Rule in the song's shared feud context; Benzino remains the primary target established by Eminem's preceding verse.

3. 33

   We got you niggas nervous on purpose

   Multi-line diss block

   34

   To hurt your focus, you's not MCs

   35

   You's worthless, you's not them Gs

   36

   You's a circus, you's no appeal, please

   37

   Use curtains

   38

   You use words Kool Herc slurred in two-thousand-third, you's perpin'

   39

   You's no threat, who's you servin'?

   40

   When lyrically oughta bury you beneath the dirt when

   41

   You fuck with a label overseein' the Earth

   42

   Shady, motherfucker, O. Trice's birth

   43

   And as I mold, I become more cursed

   44

   So we can put down the verse, take it to the turf

   45

   Cock and squeeze, and he who reach the hearse

   46

   Is he who depicts fiction in his verse

   47

   And as I breathe, and you be deceased

   48

   The world believe you deceived just to speak

   49

   You's not the streets, you's the desk

   50

   Use not your chest, nigga, use a vest

   51

   Before tools choose your rest, you chose death

   52

   Six feet deep, nigga, that's the depth

   Block noteObie Trice dismisses the target as a fake street figure tied to a desk

   TargetBenzino

   MeaningObie says the opponents are nervous, worthless performers rather than MCs or gangsters, mocks their dated language and lack of appeal, and contrasts Shady's reach with their alleged fiction. He then says the target represents a desk rather than the streets and imagines a gunfight ending six feet underground.

   WordplayCircus/curtains treats the opponent as a failed act. Kool Herc places old hip-hop vocabulary against 2003 posturing. Not the streets, the desk attacks Benzino's magazine executive role, and reach the hearse/six feet deep extends the burial image.

   ContextThe desk reference points most strongly to Benzino and The Source. The Source is contextual rather than a separately modeled target on this track, and the violent imagery remains lyric rhetoric.

4. 53

   Now go to sleep, bitch, die, motherfucker, die

   Multi-line diss block

   54

   Ugh, time's up, bitch, close your eyes

   55

   Go to sleep, bitch (What?), why are you still alive?

   56

   How many times I gotta say, "Close your eyes"?

   57

   And go to sleep, bitch (What?), die, motherfucker, die

   58

   Bye, bye, motherfucker, bye, bye (Uh, uh, uh)

   59

   Go to sleep, bitch (What?), why are you still alive?

   60

   Why? Die, motherfucker, ah, ah, ah, go to sleep, bitch (Uh, uh)

   Block noteSecond chorus reinforces the collective threat

   TargetBenzino

   MeaningEminem and DMX repeat the sleep-as-death refrain after Obie Trice's verse, presenting the three performers as a united front against the targets.

   WordplayThe repeated close-your-eyes and bye-bye language keeps disguising death in bedtime vocabulary; DMX's interjections make the call-and-response more confrontational.

   ContextBoth Benzino and Ja Rule remain possible addressees. The block is separated because it is a distinct physical occurrence in the supplied lyrics.

5. 61

   Hey, dog, I'ma walk like a beast (Yeah), talk like the streets (Yeah)

   Multi-line diss block

   62

   I'ma stay blazin' New York with the heat (Yeah)

   63

   Stalk on the beat (Yeah), walk with my feet (Ugh)

   64

   Understand my pain, the rain ain't sweet (What?)

   65

   Peep how I'm movin' (Uh-huh), peep where I'm goin' (Uh-huh)

   66

   Shit don't seep, then sleep not knowin' (Woo)

   67

   But I'ma keep growin', gettin' larger than life

   68

   Easy goin', but the same one that started the fight

   69

   He be knowin' how dog get when dog gon' bite (Ugh)

   70

   Tried to show him the dog shit, it's dog for life (Ugh)

   71

   Grand champ, and my bloodline is tight (What?)

   72

   'Cause it's all good (Yeah), 'cause it's all right (Come on)

   73

   Niggas tried to holla but couldn't holla back

   74

   Now they got to swallow everything in the sack

   75

   Blood Line, and we can go track for track

   76

   Damn, dog, why you had to do them niggas like that?

   Block noteDMX asserts New York and lyrical dominance over unnamed rivals

   TargetJa Rule

   MeaningDMX presents himself as a street-tested grand champion, says opponents tried and failed to answer him, offers to compete track for track, and closes by admiring how decisively the rivals have been handled.

   WordplayDog is DMX's recurring persona and shapes walk/talk/stalk/bite/bloodline imagery. Grand champ, larger than life, and track for track turn the verse into a status contest rather than a detailed factual rebuttal.

   ContextThe verse does not name a target. Ja Rule is the most plausible principal referent because DMX had his own conflict with Ja and the surrounding record includes him; this attribution is contextual, not certain line by line.

6. 77

   Now go to sleep, bitch, die, motherfucker, die

   Multi-line diss block

   78

   Ugh, time's up, bitch, close your eyes

   79

   Go to sleep, bitch (What?), why are you still alive?

   80

   How many times I gotta say, "Close your eyes"?

   81

   And go to sleep, bitch (What?), die, motherfucker, die

   82

   Bye, bye, motherfucker, bye, bye

   83

   Go to sleep, bitch (What?), why are you still alive?

   84

   Why? Die, motherfucker, ah, ah, ah, go to sleep, bitch

   Block noteFinal chorus applies the death refrain after DMX's Ja-directed verse

   TargetJa Rule

   MeaningThe last chorus repeats the demand that the opponent close his eyes and die, now following the section most closely associated with DMX's dispute with Ja Rule.

   WordplayExact repetition makes go to sleep function as both hook and final verdict; time's up and bye-bye close the confrontation.

   ContextThe placement makes Ja Rule the most immediate addressee, although the hook still serves the record's broader Benzino and Ja Rule targeting.

7. 85

   All of you motherfuckers, take that (Ugh)

   Multi-line diss block

   86

   Here, take this too, bitch

   87

   Uh, uh, uh, uh, wahoo

   88

   We're killin' all you motherfuckers dead

   89

   All of you

   90

   Fake-ass gangsters

   91

   No more press, no more press

   92

   Rot, motherfuckers, rot (Uh-huh)

   93

   Decay, in the dirt, bitch, in the motherfuckin' dirt

   94

   Die nameless, bitch, die nameless

   95

   No more fame

   96

   Ahh, hahahaha

   97

   Yo, X, come on, man (Woo)

   98

   Obie, let's go

   99

   (Haha)

   Block noteOutro denies the targets fame or press and imagines them dying unknown

   TargetBenzino

   MeaningEminem addresses all opponents, declares them dead and decaying, calls them fake gangsters, says there will be no more press or fame, and invites DMX and Obie Trice to leave after the attack.

   WordplayRot/decay/dirt/six feet completes the burial field. No more press carries a double meaning: no further media attention and, in the Benzino feud, an attack on his connection to The Source magazine. Die nameless/no more fame makes obscurity the final punishment.

   ContextThe press reference points especially to Benzino, while all of you keeps the outro collective. This is theatrical violent language rather than a factual report.

Content-rights boundary: these are original placeholder lines, not the commercial recording’s lyrics.