Hello. I am KIVΛ.
Over the past 3 years, I have been working under Rayark Inc. on the rhythm game title 《Cytus II》 as Sound Director, as well as music and sound effects production, together with story design and a portion of motion design. In June last year, I found myself going into different paths with the company, so I left the position as regular staff member, but continued to work with the remainder of the project until version 3.0, where the story finally reaches the finale, so did my journey and objectives for this game development journey. Having this opportunity, I would like to share some of my thoughts regarding this epilogue.
Since I joined this project, the focus of design has always been the joint experience of story and music. With the story reaching the end, I would like to potrait the overall ambient to be more film-like, which players might experience the tension of the climax through music. Having such thoughts, I was determined to unify the music genre in 3.0 as film-score like, blending in motifs from song lineup of each and every game character. I am totally aware that level design for symphonic music is difficult, especially in emphasizing the groove like how it was usually done in electronic music. I want to thank all level designers for their hard work in overcoming such challenges.
The epic vibe from combining contemporary electronic and symphonic music is something that I always wanted to attempt for, and in my previous works there has been appearance of such sound elements, but by using only virtual instruments it might just not reaching my expected result. I want to thank Rayark for being so generous to provide all the support, making the symphonic recording come true.
Having such opportunity, I went for two of my friends who I have never work together with: Shao-ting Sun, a recording engineer in Carnegie NYC; Chamber Chu, a symphonic music producer. They have been my game peers for quite a while, but I have always been admiring their aesthetics and abilities in sound design, and these two grandmasters have definitely outperformed themselves. I spent a whole week staying with Chamber for the arrangement of symphonic parts, which was a very precious experience in music creation. The recording team that Sun brought together, as well as the professional performers that participated in the recording session, is by no doubt astonishing. Recalling that we rushed for the full score of all the pieces until the very morning of the recording session (our sincere apologies), but it took no more than 5 takes for all sections to get the desired outcome. Absolutely fascinataing.
It is also worth mentioning that the entire team of roughly 60 were all Taiwanese. I guess we might have made another achievement in the history of Taiwanese game music production. I am so honoured to have the opportunity in leading such a groundbreaking project, together with all the grandmasters.
3 years isn't that long, but it is more than one out of ten for my life. There were other creation experience that were fun but painful, and many achievements were unlocked when I worked in this company. Standing on the stage in front of the screaming crowd, working with Japanese voice actors that I admired for so long, having so many supporters of my work, all these could never be possible without Rayark. Even I left the company going for different paths, I still wish for the very best of this company to become a even better one.
It is a pity that I can no longer work together with the fantastic members of Team Cytus. Perhaps they are fed up with my twisted personality and being stubborn for what I wanted to create. I would like to thank you all for your understanding and forgiveness. Each of you have the profession and passion, and I found myself so tiny and unintellegent working with all of you, and I have learned a lot over the years. I wish all of you could push the creative industry in Taiwan even further forward. I am returning as a mere artist, working hard on what I could. No matter how harsh life is, I am still working on it, as this is the only thing I am capable to do.
Last but not least, I would like to thank all of you players that have supported this game. Without you, this could never happen. No matter to me, to the Team and to the players, 《Cytus II》 might not be the perfect piece of game, we might have different imaginations on the enormous world settings, characters or even the game design itself. What in common was we spent 3 years to experience the creation and playing process. It is the story and music that linked us together. I believe this is the charisma of the game. I wish you are all loving this game, loving the characters, and loving the time that we created together.
There are so many more to thank, to apologize, the satisfaction and sorrows, and they are all included in this ending music. It is time for me to step down.
Thank you, and goodbye.
同時也有4部Youtube影片,追蹤數超過11萬的網紅Rose Mun,也在其Youtube影片中提到,We’ve all done things in the past we’re not proud of. The best way for us to heal is to accept ourselves- every flaw and moment we’ve been ashamed of ...
「i was made for loving you lyrics」的推薦目錄:
- 關於i was made for loving you lyrics 在 KIVΛ Facebook 的最佳解答
- 關於i was made for loving you lyrics 在 Robynn Yip Facebook 的最讚貼文
- 關於i was made for loving you lyrics 在 YOSHITOMO NARA Facebook 的精選貼文
- 關於i was made for loving you lyrics 在 Rose Mun Youtube 的最佳貼文
- 關於i was made for loving you lyrics 在 moon tang Youtube 的最佳貼文
- 關於i was made for loving you lyrics 在 F Records Youtube 的精選貼文
i was made for loving you lyrics 在 Robynn Yip Facebook 的最讚貼文
Blog 10
It's always when I need to sleep the most that I'm the most inspired to do certain things that are unimportant- like writing a blog, the night before a SUPER important MV shoot. So may this be a short one. (lol nvm)
I really think that the music industry as a whole is changing and shifting so much that no one knows what the real rules are. I'm not one to really know how to boast or sell myself, I just consider myself a very insanely lucky girl who has been able experience many things that many music lovers would dream of doing. And I used the word "experience" and not "achieve" or "accomplish" because well... I think experience is the better word. I count it as a blessing to be able to do those things, and I count my hard work as a given. There has been times where I was severely burnt out, severely lost, and downright depressed for some periods of time, but I only experience them to grow and be stronger. They are just all a part of the human experience; what it means to be alive.
Tomorrow is a big and special day - after months and months of waiting, after countless date changes, it has finally come, and we can finally shoot our next music video. It's a very intimate song, and it's a song where Pong Nan's lyrics really made me cry till no end. It's moving because it's true, and reality is sometimes brutal, but beautiful also because of it.
I have no regrets with every imperfection in my career, because it made me who I am, and I'm grateful for it all, because if anyone else said their careers were perfect, well they're all liars. The key is still the attitude, and how you choose to react to the world around you. I used to be so positive in the early stages - and now, having been through so much, I still am, and even more so now. I used to be so scared of people judging me, so scared of people misunderstanding me, so scared of people not giving me credit for my hard work, my songs, my video directing and editing, and everything in between. I used to be soooo insecure when people put me in the "rich kid" box that I overcompensate and work even harder, only to find out there is no happiness in trying to trump something that cannot be trumped. But this is all me, my work, my drive, determination, and persistence, as well as all the things I was simply blessed with and did not earn. That latter part is also me, I used to push that part of me so far away from myself... but now I'm finally very slowly coming to terms with it in a more public sense. Now I just know better that I am who I am- the complexity of it all, with all of the nuances and cracks and broken pieces, but also all the blessings, gifts, and the shimmer. If some people are going to hate what I can't change anyway, there's no point in my hiding anything away really. Perhaps I'm too honest of a person, but I really don't have any mystery about me. If mystery is marketable, then I'm not marketable lol. Oh well. Thanks for loving the unmarketable me, anyway.
Regardless, I'm so excited for what's ahead, and I'm so excited to continue to take you on my journey.
Good night, if you're still up; good morning, if you were asleep when I posted.
Always choose love, and bring light.
Robynn
#robynnblogs
i was made for loving you lyrics 在 YOSHITOMO NARA Facebook 的精選貼文
Nobody’s Fool ( January 2011 )
Yoshitomo Nara
Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.
It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.
But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.
While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.
As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.
In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.
Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.
Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!
I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.
Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.
By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.
After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.
And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.
Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.
But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.
The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.
Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.
After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.
Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.
After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.
I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….
i was made for loving you lyrics 在 Rose Mun Youtube 的最佳貼文
We’ve all done things in the past we’re not proud of. The best way for us to heal is to accept ourselves- every flaw and moment we’ve been ashamed of to learn to let go of those emotions to truly be happy.
Everyone has a story of their own & this one’s mine. I went through a lot as a child from learning how to cope with the death of my brother, sleeping in cars because we were either homeless or moving from place to place, and leaving my parents to have a better life.
I’ve learned that life moves on, either with or without you - so learn to live life happily, wholeheartedly. Work on yourself and learn to really love yourself by accepting who you were born to be.
Thank you for supporting me and my journey.
XoXo,
Rose
Lyrics:
My Story - Rose Mun
Lyrics:
Look -
Let me tell my story
Grew up in a small town
Everybody knew me
Mom, Dad, Brother, Brother, Sister, then Me
I guess you could call that a family
10 yea old left mom & dad
Didn’t even know that life was bad
17, and the brothers passed
Cries every night with the thought of that
There’s days where we’ve gone cold, gone cold
& days where we’ve just had no home
Slept in the car like it was nothing
Woke up went to school
Tryna be something
Tryna make my family proud
Tryna get that bag, cause I wanna get out
Rap:
So you can call me crazy
Yeah I’m crazy on life
I said puff puff pass
Now I’m a little high
Thinkin’ bout the times
How it flew by
How much I’ve grown to love myself
Man it feels nice
You should try it sometimes
Instead of shittin’ on people
Karma is a mf’ bitch
Man that shit is lethal
Escape this damn reality
And just be me
I just wanna live my dreams
Let my soul be free
I was lost for a minute
But now I’m back
Trusting the Universe
The Angels got my back
I’m seeing all the signs
Right before my eyes
I’m following my heart
And ignoring my mind
I came from a broken home
And that’s okay
My parents weren’t in my life
I accepted all the pain
I learned to accept my life for what it is
Blessed for all the moments
I’m glad I got no kids.
Serial dated
As if I was a killer
The only person dying
Was the one inside
A sinner
Didn’t know my worth
Let myself get used
Dated the wrong people
I even got abused
Man I learned my lesson
Even though it was the hard way
Cheated on my exes
And now karma paid it my way
Fucked up many times
Thought I learned my lesson
I was just a kid
Playing games and messin’
With things I didn’t understand
Loving people wrong
Hurting them in the end
Made mistakes
And grew from that shit
Learned to let go
Release, and that’s it.
Life moves on
Either with or without you
It’s your choice to
Make up what you will do
So take this time just to sit back
Listen to your heart, really listen to that
Stop playing games
And silence your mind
Meditate & grow
Baby, let me see you thrive
Clear your energy
Throw in some good vibes
2021 - the greatest time to be alive
i was made for loving you lyrics 在 moon tang Youtube 的最佳貼文
I had this long-distance relationship 2 years ago and it was one of my happiest and also the most depressing time of my life. He was there for me the whole time and the only way we could connect was a simple call every single night before bed. I would tell him about my day, all the little things that made me happy or sad. It was usually sad. I would cry every night without knowing why and he would just be there on the phone, listening.
⸝⋆⸝⋆
I wanted to write a song about that. To be that one call for someone.
⸝⋆⸝⋆
Because I know how those late-night calls made me feel accompanied and safe like it isn't so bad to be this way.
⸝⋆⸝⋆
Loving someone that doesn't love themselves is hard. Loving that someone from afar is even harder. So thank you.
⸝⋆⸝⋆
I think I relate this song to my mum the most. She's in Thailand right and I haven't seen her for about 8 months. I feel like I never express how much I miss her when we're on the phone because IDK, I just couldn't say it out loud but I do miss her a lot. I guess this song also resembles a little part of her reaching out to me and a part of me saying I fine mum don’t worry.
⸝⋆⸝⋆
thank you daniel this amazing arrangement
thank you lester for writing this beautiful song with me
thank you enoch for making this feels complete
here are the lyrics:')
Spacing out, I hold myself tight
How should I send my warmth to you,
Through the night
I know you've tried,
Oh so tired, I know
Not everything's in control in life
So take your time
Just breathe (it won't cost you much)
Breathe (and youʼll be ready to)
Figure out someday,
Even if you don't itʼs okay
Just breathe (donʼt hold it in)
Breathe (don't worry we still can)
Figure out someday,
Even if we don't itʼs okay
It'll never be enough
Wonʼt ever love yourself
But thereʼs always one beside you
Although he may be far
So far, so far, so far
Just breathe (it won't cost you much)
Breathe (and youʼll be ready to)
Figure out someday,
Even if you don't its okay
Just breathe (and let it out)
Breathe (don't worry we still can)
Figure out someday,
Even if you don't itʼs okay
*beautiful outro outta spacccee*
i was made for loving you lyrics 在 F Records Youtube 的精選貼文
No Tattoos
Music by: Dough-Boy
Lyrics by: Dough-Boy
Arranged by: Dough-Boy
Produced by: Dough-Boy
[Verse 1]
No I got no tattoos
No I got no tattoos
Dough boy ain’t giving a what
My parents they wishing me luck
Complaints from my teachers in class
Say I don’t listen enough
Why would I listen to U
You should come visit my crew
I rather learn from mistakes
Than be a victim of school
I was a thief at the age of 14
I learned to work alone
I threw away my degree
Can’t stand to see it at home
I’m afraid that I’m like you
I don’t know where we’re going
I don’t know what I might do
I don’t believe in no one
[Chorus 1]
I got no tattoos nothing last forever
I got no tattoos but my Gucci belt leather
I got no tattoos what u think I’m soft?
I kill your whole rap crew but you never piss me off, I got
No no no tattoos
I got no no no tattoos
I got no no no tattoos
I got no tattoos
I got no tattoos
[Verse 2]
No tattoos but I’m wearing my glasses
But in this town you know I’m the baddest
No tattoos, not your favourite rapper
Wanna shut me down, see you make it happen
The money I’m making I put in the stash
80 in the bank and I put 20 in cash
All the extra money I pack it in the bag
To buy me that shirt and the jacket to match
I don’t take nothing for granted I don’t trust myself
Self made boy I don’t need no help
You think that you could play with me what do u know
I’ll fight you in the restaurant if you mess up my noodles
Dough-boy ain’t giving a what
Man of my words, I’m living it up
You loving the pain, I’m loving the grind
I’m loving it being above
Ain’t saying what you doing is wrong
Ain’t saying what I’m doing is right
Matter of time I’ll be gone
By then I’ll be feeling alive
[Chorus 2]
I got no tattoos nothing last forever
I got no tattoos but my Gucci belt leather
I got no tattoos what u think I’m soft?
I kill your whole rap crew but you never piss me off, I got
No no no tattoos
I got no no no tattoos
I got no no no tattoos
I got no tattoos
I got no tattoos
[Coda]
I know that things ain’t go last forever
I’m so scared things ain’t go turn better
That’s why I’m shivering when I wrote that letter
I’m so scared that nothing is forever