Goose Creek Lyrics – iayze

[Intro]
Rrr, ayy, ayy (Go, go, go)
It’s me (Go, go, go)
Ayy, you gon’ get— (Ayy), you gon’ get the real me, you know?
I—, I’m still smoking dope, I do all of that s*it, you know? (I’m back, I’m back)
It’s, it’s all in my mind, it’s all in yo’ mind, you know? (I’m back, go, I’m back)
You got a problem, you better spin about that, you slum (I’m back, I’m back)

[Chorus]
Bro do not care about nobody else, that lil’ n!gga tryna fiend for himself (B!tch, ayy)
Walk in the spot, get to looking too stealth, n!ggas know I got the heat in my belt (Rrr)
Stress too bad, gotta get more cigs, I’m finna run out today (Today, b!tch)
Tryna be a dad, I just be with my kids, that’s why I been out the way (Ayy)
Two-tone .30 stick on my Gen, bro better get out the way (The way)
Reverence 2, but I keep on saying, “Cujo,” more than the album name
Duck n!gga, if you—
Duck n!gga, if you tryna preserve your face (Face)
On the pills so these b!tches keep going insane (‘Sane)
Get killed if you thinking you be with the gang (Gang)
New steel in the field, catch a new hat (New hat)

[Verse 1]
You can try and shoot at us, but we getting that back
Body dropping, lil’ n!ggas keep doing that bad
Thottie popping, she be walking like she in a mag’
Walk around with a 32-round mag’
Fu*k around and got lucky with two freaks
Them be talm’ ’bout Top like they knew me
They be talm’ ’bout Top, I’m like, “Who, me?”
Clarence live at home with both parents and grew up in-

[Bridge]
Rrr, ayy, ayy
I ain’t gon’ say it (Ayy)
You know I’ma come back in (I’ma come back in)
You know I could’ve said it (I could’ve say that, you know?)
You know I could say it (I’ma come back in, ayy)
But we gon’ come back in here, you know (You know my mindset, bonding out Cujo and s*it)
I rea—, I wasn’t gon’ say it (You know I ain’t worried about nobody)
(You know I feel like talking my s*it, you know?)
Ayy, look, rrr, rrr-rrr (Rrr-rrr-rrr)

[Verse 2]
Fu*k around and got lucky with two freaks
Clarence wish he had the money to shoot me
Clarence wish he had the motion to pass me
Too bad Clarence grew up in Goose Creek
Stood on some hundreds then I grew up two feet
Running to the hunnids, fu*k around and grew two-feet
VETEMENT’ jeans and I’m so high, it’s looking like Vietnamese
Rocking Amiri, you could tell ’cause these b!tches ripped jeans

[Bridge]
Rrr-rrr-rrr-rrr, ayy (Go)
I’m T’d up, I’m T’d up gang (You know, how I’m rocking Asian)
Ayy, you ain’t T’d-up, n!gga (Ayy, free Cujo, ayy, you know, they just freed Chris)
Ayy, huh, I’m still that n!gga you know, n!gga (You know, they just freed Dee, they just freed–, uh)
I’m still the common denominator, n!gga, you know (Ayy, you know, they say his ass been killed, so I don’t know where his ass went)
I still pop my s*it daily (You know I’m in that bit’)
But they still ain’t catch me, n!gga, you know? (Ayy, you know I clap)

[Chorus]
Bro do not care about nobody else, that lil’ n!gga tryna fiend for himself (B!tch, ayy)
Walk in the spot, get to looking too stealth, n!ggas know I got the heat in my belt (Rrr)
Stress too bad, gotta get more cigs, I’m finna run out today (Today, b!tch)
Tryna be a dad, I just be with my kids, that’s why I been out the way (Ayy)
Two-tone .30 stick on my Gen, bro better get out the way (The way)
Reverence 2, but I keep on saying, “Cujo,” more than the album name
Duck n!gga, if you—
Duck n!gga, if you tryna preserve your face (Face)
On the pills so these b!tches keep going insane (‘Sane)
Get killed if you thinking you be with the gang (Gang)
New steel in the field, catch a new hat (New hat)

[Outro]
Ayy, man, hey man
Top Kid s*it, this gang s*it
Ayy, man, shout out all my n!ggas, man
Let all the opps know I’m a real gangster, b!tch
When I come home these n!ggas finna see, huh, n!ggas ain’t—
Y’all need to quit that playing

The introductory segment sets the tone for the song, introducing the artist’s persona with a mix of confidence and defiance. The repetition of “Go, go, go” signifies a call to action, suggesting a readiness to confront challenges. The artist asserts his authenticity, claiming to remain true to himself despite any judgments or expectations from others. The references to smoking dope and the assertion that it’s all in his mind hint at a rebellious attitude and a refusal to conform to societal norms. The closing lines, warning those with a problem to “spin about that,” reinforce a sense of assertiveness and readiness to confront obstacles.

The chorus delves into the artist’s mindset and experiences in the streets. It portrays a sense of individualism and self-preservation, with the artist prioritizing his own well-being over others. References to carrying heat and stress indicate a life marked by danger and tension. Despite the hardships, there’s a glimpse of humanity as the artist mentions his role as a father, albeit one who is struggling to balance his responsibilities. The mention of “Cujo” suggests a loyalty to friends or associates, even above the recognition of his own album.

The first verse paints a vivid picture of the artist’s environment, depicting a world filled with violence, promiscuity, and materialism. The mention of “body dropping” and carrying a firearm underscores the dangers inherent in his lifestyle. Despite the chaos, there’s a sense of swagger and bravado as the artist describes his encounters with women and his reputation on the streets. The reference to Clarence hints at a character whose circumstances contrast with the artist’s own, adding depth to the narrative.

The bridge serves as a moment of reflection and introspection amidst the chaos. The repetition of sounds and phrases creates a sense of urgency and determination. The artist acknowledges his own reluctance to speak openly but ultimately decides to assert himself. References to bonding out “Cujo” and escaping capture suggest a life marked by constant evasion and defiance. Despite the bravado, there’s an underlying vulnerability as the artist grapples with his own identity and the pressures of his environment.

The second verse continues to explore themes of status and identity within the context of the streets. The artist contrasts his own fortune with that of Clarence, highlighting the disparities within their respective upbringings. References to designer clothing and drug use further emphasize the materialistic and hedonistic aspects of his lifestyle. The mention of Goose Creek adds geographical context, suggesting a specific setting within the broader narrative of street life.

The second bridge reinforces the artist’s assertion of dominance and identity within his community. References to freedom and loyalty underscore the importance of camaraderie and solidarity amidst adversity. Despite the threats and challenges he faces, the artist remains defiant and unapologetic, continuing to assert his presence and influence.

The outro serves as a final proclamation of the artist’s identity and allegiance. References to “Top Kid” and “gang s*it” affirm his affiliation and status within his community. The callout to his allies and the warning to his adversaries convey a sense of confidence and authority. The closing line, urging others to stop playing, serves as a defiant challenge to anyone who would underestimate him.