Last Memory by Takeoff Lyrics Meaning – Decoding the Lavish Lamentations of a Trap Titan
Lyrics
Woke up this mornin’ can’t remember nothin’
Two bitches just flew in from London (two bitches)
Last thing I remember they callin’ me daddy
The mattress was covered in money (in hunnids)
Went to sleep with my jewelry and chains on
Had to wake up and recount the money (recount it)
I got a bitch, she gon’ kill for real
Talkin’ ’bout Clyde and Bonnie (brrt)
Coupe with the kit, cop it (got to)
Pull up with a stick, stop it (stop it)
Rich nigga shit, solid (rich nigga)
Old hunnids, pockets rotted (cottage)
I go to space with the stars (stars)
Might smoke a blunt with my pilot (cookie)
Saturn, Moon, Earth, and Mars (Mars)
NASA takeoff with the rocket (NASA)
Half a million on a necklace (half)
Young rich niggas we successful (successful)
Said she wanna feel special (she what?)
That coco make her feel special (coco)
I count a hunnid or better (one hunnid)
Back end two hunnid or better (two hunnid)
I might go put all my chains on (ice)
I just might change up the weather (change it)
She pop a Perc, her pussy wetter (drip)
I met the bitch at Coachella (Coachella)
If she knew tell her, she’ll probably do better
But can I get a E for effort? (E)
I prayed to God to wash my sins (God)
Nothin’ formed against me, not a weapon (no weapon)
Ask him where do I begin (where?)
Devil tryna take my blessings (my blessings)
They don’t know the meanin’ of the white (naw)
You don’t really live this life (no)
Niggas in the hood shootin’ twice (pew-pew)
See my niggas in the hood shoot precise (brrt)
Real wise, we ain’t takin’ no advice (naw)
I realized that these hoes ain’t right (all of ’em)
Don’t even ask, ’cause they know what’s the price (price)
Ain’t gotta snow, they already know it’s white (white)
I talk to God ’cause I been baptized (baptized)
I got mob ties to the Nawf side (Nawf side)
Pull up with the sticks on a nigga, straight slime (skrrt-skrrt)
They gon’ make the Nawf side high crime (Nawf)
Better not hit a lick with these niggas droppin’ ten (huh?)
Hit a lick with these niggas droppin’ dimes
Fuckin’ on her friend I’ma break her back in (smash)
Lookin’ at the watch I can’t waste time (T-T-Takeoff)
Woke up this mornin’ can’t remember nothin’
Two bitches just flew in from London (two bitches)
Last thing I remember they callin’ me daddy
The mattress was covered in money (in hunnids)
Went to sleep with my jewelry and chains on
Had to wake up and recount the money (recount it)
I got a bitch, she gon’ kill for real
Talkin’ ’bout Clyde and Bonnie (brrt)
Coupe with the kit, cop it (got to)
Pull up with a stick, stop it (stop it)
Rich nigga shit, solid (rich nigga)
Old hunnids, pockets rotted (cottage)
I go to space with the stars (stars)
Might smoke a blunt with my pilot (cookie)
Saturn, Moon, Earth, and Mars (Mars)
NASA takeoff with the rocket (NASA)
In the vertiginous world of trap music, where beats are often as heady as the lifestyles they articulate, the late Takeoff, one third of the pivotal group Migos, etched a space for himself as a stoic poet of the genre. ‘Last Memory’, a standout cut that pairs a hypnotic MonstaBeatz production with Takeoff’s icy flow, delves into themes deeper than the surface-level braggadocio prevalent in today’s rap narrative.
Beyond the hustle of luxury and lyrical flexing lies an introspective examination of success’s temporality, the spiritual weight of material indulgence, and a stark recount of the uncompromising streets. This article unpacks the layers hidden beneath the icy exterior of ‘Last Memory’, revealing a vulnerability within the well-tailored fabric of Takeoff’s persona.
Gilded Cages – The Paradox of Prosperity
The track’s opening finds Takeoff awakening to a haze of forgotten indulgence, the remnants of a night drowned in excess. But it’s not just the luxury that captures attention; it’s the relentless tallying of wealth—’Had to wake up and recount the money’—that points to an endless cycle. Here, Takeoff creates a tapestry that interweaves the glitter of success with its undercurrent of emptiness, a motif mirrored in the lives of many who reach the apex of fame.
‘Last Memory’ doesn’t simply gloat about the spoils of Takeoff’s success; it inadvertently sheds light on the notion that excess can lead to memory lapses—the proverbial blackout of those who fly too close to the sun. The rapper’s rich narrative pries open the doors to a conversation about the cost of opulence and the hollowness that can echo behind closed mansion doors.
A Symphony of Egotism – Boasting Beyond Borders
Unabashed self-assurance streams through the lyrics, with Takeoff flexing everything from a half-million-dollar necklace to interstellar travels. It’s an assertive declaration of wealth and dominance that resonates with the contemporary listener, familiar with hip-hop’s penchant for one-upmanship. ‘Old hunnids, pockets rotted’ and ‘NASA takeoff with the rocket’ emerge as chants of accomplishment and technicolor dreams actualized.
Yet, within this chest-thumping emergence lies a cunning linguist playfully canvassing his mastery over the American Dream. The references serve both as conspicuous consumption and proof of reinvention—a young artist snatching the stars, somehow still pondering whether they shine bright enough.
Echoes of Romance – Unveiling the Heart Beneath the Ice
In a startling shift from braggadocio to the more heartfelt, Takeoff evokes romantic imagery paired with substance-induced haze to depict connections both transient and deep. From ‘That coco make her feel special’ to meeting a conquest at Coachella, Takeoff’s lyrical prowess uses romance as another dimension of the high life, albeit one marbled with a quest for meaning beyond physicality.
Takeoff’s exploration of romantic entanglements, wielding drugs and fame as mediums, ultimately circulate back to self-reflection, querying the genuineness of these relationships. Beneath the illustrious hookups and, perhaps, empty encounters, the song hints at a desire for genuineness and the recognition of one’s own worth in the eyes of another.
Street Cred: The Soul of Authenticity
‘You don’t really live this life’ and ‘Real wise, we ain’t takin’ no advice’ are testament to a life lived in the unyielding glare of realness. Takeoff claims a legitimacy founded on lived experiences—shots ringing through the hood and an innate street wisdom that can’t be counseled. This is less about the glorification of violence than an acknowledgment of roots—an unspoken rulebook guided by the code of the streets.
Through this recognition of heritage, Takeoff reaffirms his and Migos’ narrative as gritty griots who have transcended their circumstances. It’s a gritty authenticity that gives substance to the stylisms and linguistic acrobatics, an unbreakable bond with the streets that continues to inform their art.
Dissecting the Divine Dialogue – Hidden in Plain Sight
Among the club-ready anthems and tracks oozing swagger, ‘Last Memory’ finds Takeoff in a thoughtful exchange with the divine. ‘I prayed to God to wash my sins’ juxtaposes with the earthly opulence paraded just verses prior. The reference to baptism and a steadfast withstand against the devil’s attempts at seizing his prosperity introduces a spiritual depth to Takeoff’s persona encapsulated across Migos’ discography.
In what might be the most intimate reveal of ‘Last Memory’, Takeoff crafts a narrative of internal conflict, of a man grappling with the moral conundrums posed by fame and fortune. It’s a plea for redemption and strength; a silent admission that even amidst a shower of wealth, the soul seeks cleansing and fortitude.
