PERCS | PERCZ by Denzel Curry Lyrics Meaning – Peeling Back the Layers of Hip-Hop Realism
Lyrics
I’m ULT and I don’t fuck with you if you ain’t us
In me I trust, I turn these niggas into cosmic dust
I’m Loaded Lux with a loaded K, cock back I spray I bust
That player shit, that Raider shit still running through my blood
These brand new niggas took my name and drug it through the mud
I get the hammer, I be the judge like Dredd, police judge my dreads
Fuck your favorite artists, make sure they all dead
Shang Tsung, my swag, broke it apart, ran with it
Weak shit, peep shit, stay dark, soul tinted
Fuck around and get your door dented, new flows invented
Shoot shit, Cole Bennett, rap game, don’t get it
With these dumbass niggas, and they don’t say shit
Sound like “Durr, durr, durr”, you like “Oh, that’s lit”
With yo’ boof ass hits, “I’ma fuck yo’ bitch
I just popped two Xans,” nigga, fuck that shit!
On Tree, I do not fuck with the percs, I barely fuck with the Earth
On me, industry niggas the worst, actin’ like they from the dirt
On me, I do not fuck with the percs, I barely fuck with the Earth
On Tree, all of them niggas I birth, tryna put me in a hearse
On Tree, I do not fuck with the percs, I barely fuck with the Earth
On me, industry niggas the worst, actin’ like they from the dirt
On me, I do not fuck with the percs, I barely fuck with the Earth
On Tree, all of them niggas I birth, tryna put me in a yuh!
Maybe I should go to jail to get my name up
Then get out and show you how to fuck the game up
Keep my name out yo’ mouth, keep yo’ chain tucked
Keep yo’ dame cuffed, I could make her famous
She’s a plain slut that loves it in the anus
I should rap about some lean and my diamond cuts
Get suburban white kids that want to hang with us
It’s your friendly neighborhood, I don’t give a fuck
Get it straight, I innovate, you ad-libs on a 808
Don’t need a tattoo on my face ’cause Denzel is a different race
I don’t even try to hate, I’m just saying what I ain’t
People sleeping on me hard and I’m the hardest in the paint
Eight years in the game and I never rode a wave
I may be overlooked, but I’m never underpaid
And when I win a Grammy I’ma take it back to Dade
You signing to a label where they treat you like a slave
On Tree, I do not fuck with the percs, I barely fuck with the Earth
On me, industry niggas the worst, actin’ like they from the dirt
On me, I do not fuck with the percs, I barely fuck with the Earth
On Tree, all of them niggas I birth, tryna put me in a hearse
On Tree, I do not fuck with the percs, I barely fuck with the Earth
On me, industry niggas the worst, actin’ like they from the dirt
On me, I do not fuck with the percs, I barely fuck with the Earth
On Tree, all of them niggas I birth, tryna put me in a
Finish him ‘Zel, finish him ‘Zel
Finish him ‘Zel, finish him ‘Zel
Denzel Curry’s spitfire track ‘PERCS | PERCZ’ isn’t just a lyrical onslaught; it’s a raw and searing critique of the contemporary hip-hop milieu. With verses that slice through the smoke-screen of the industry, Curry pulls no punches as he lays bare the pretense and perils within both the scene and society.
Beyond its hard-hitting beat and aggressive delivery, the track tells a deeper story. It’s about authenticity, the effects of fame, and the soul-crushing norms of an industry that often values image over substance. Curry’s voice acts as both a weapon against disingenuity and a clarion call to those seduced by the glittering yet hollow aspirations offered by the music world.
An Anthem for Authenticity in a Clone-Heavy Industry
From the outset, ‘PERCS | PERCZ’ establishes itself as an anthem for authenticity. Denzel Curry’s lyrics deride the mimicry and lack of originality in the industry, accusing emerging rappers of stealing his style and sullying his name. When he proclaims ‘I’m ULT and I don’t fuck with you if you ain’t us,’ it’s not just a shout-out to his collective but a line drawn in the sand, marking the boundary between the real and the fakes.
Curry equates his rhymes to turning adversaries into ‘cosmic dust,’ a metaphor for his ability to obliterate the competition with his cosmic caliber of lyricism. He’s unafraid to call out the ‘player shit’ and the ‘Raider shit’ that pumps through his veins – a nod perhaps not just to his tastes but to a raw, unpolished edge that has always defined his approach to music.
Breaking Down the Door With ‘New Flows Invented’
The track doesn’t just rebuke for the sake of it; Curry also asserts his innovation in a sea of sameness. He’s condemning the recycled and banal (‘boof ass hits’) that populate streaming platforms and airwaves. His self-confidence doesn’t come from arrogance but a place of creativity. ‘New flows invented’ is not just a boast but a statement of fact for an artist who continually evolves away from competitive complacency.
This is reinforced when Curry rejects popular tropes prevalent in hip-hop – money, substance abuse, materialism – all to underline that he is not a product of the industry’s cookie-cutter mold. Instead, he takes pride in being a creative force, someone who ‘innovates’ rather than ‘ad-libs on a 808.’
Decoding the Dualism of ‘PERCS | PERCZ’
The recurring refrain ‘I do not fuck with the percs’ is a multi-layered chorus that addresses both the literal use of Percocet, a powerful and addictive painkiller, and the metaphorical idea of artificial enhancement – whether in life or in art. Curry positions himself as an artist who is grounded in reality (‘I barely fuck with the Earth’), eschewing the false highs offered by drugs or the superficial industry trappings.
Moreover, the mention of the Earth implies a disconnection not just with drugs, but with society at large. The statement reads as both a personal testament and a lament, hinting at a sense of alienation amidst a world where many of his peers are succumbing to these very pitfalls. It’s a potent commentary on the state of hip-hop and, by extension, of popular culture.
Resisting the Industry’s Temptation and ‘Slave’ Contracts
Curry’s critique of the industry isn’t limited to its tastes but extends to its practices. He is candid about the transactions that turn artists into commodities (‘You signing to a label where they treat you like a slave’). With the rise of conversations around music ownership and artist autonomy, his sentiments are not only timely but resonate with a growing movement advocating for artist empowerment.
He acknowledges the commercial pressure to produce content that appeals to a certain demographic (‘Get suburban white kids that want to hang with us’) yet intentionally avoids pandering. His visceral disdain for this artistic compromise speaks volumes on his commitment to integrity over popularity.
Echoing the Unseen Struggle and a Vow of Triumph
Curry’s mention of potentially exploiting his own criminality (‘Maybe I should go to jail to get my name up’) satirizes the glorification of street cred in hip-hop. He’s aware of the fascination with the ‘bad boy’ image but dismisses this trope, emphasizing instead on the real hustle (‘Eight years in the game and I never rode a wave’).
He promises to bring his hard-earned success back to his roots once he’s recognized (‘And when I win a Grammy I’ma take it back to Dade’). This isn’t just a personal victory lap; it’s a communal one. It’s a recognition that his achievements aren’t merely for self-aggrandizement but will serve as a beacon, illuminating the path for others from his background to find success through unwavering authenticity.
