Still countin by Yeat Lyrics Meaning – Unwrapping the Layers of Material Triumph and Existential Struggle
Lyrics
Racks came in, they can’t fit in this Tonka
Racks came in but I’m still in this Tonka, yeah
Seven mil’ on the table and I’m still sayin’ Tonka, yeah
Luh crank, luh crank, luh crank
Luh crank, luh crank, luh crank (go)
Luh wonky, luh wonky I boot it up (boot it up, boot it up)
Eatin’ the Perc, they gon’ take me, I booted up, yeah
I’m on the Xan’ and the bean, you get smacked off
Keep on talkin’ ’bout it like that
Bitch say she love me, she addicted to crank
Bitch say she love me (what?), I don’t love her back (ha)
Some of my twizzys real deal crazy, they get you whacked
I ain’t tryna hear your music, turn it off, that shit some trash
I touched me a mil’, and I bought me a building
Pull up to the show, and I’m breakin’ the ceiling, turn up
Yeah, fuck your girl, fuck your world, fuck your feelings
Yeah, I make too much cheese, I don’t want no dealings (with you)
Yeah, I’m on the X tonight (ooh-ooh)
Yeah, I’m on the Perc’ tonight (okay)
Fuck a crib, I’m ’bout to hop on a jet and just live in the sky (sky)
Yeah, I just been callin’ my demons, I do what they say, don’t know why
Heard there’s a fountain of youth (you-youth), told ’em to fill it with Wock’
Yeah, Balenci’ my shoe, yeah, told ’em I pulled out the lot (ooh)
Fuck 12, fuck cop (ooh)
Big bag, lil’ Glock (ooh)
They tryna fuck with the squad, they tryna fuck with the God (ooh)
I don’t know who they is, I don’t know who they are, yeah (ooh)
I been outside in the Lamb’, you don’t even have you a car (ooh)
It’s up and it’s stuck like some jam, no, they can’t tear me apart
All of you rappers be soundin’ the same, bitch, I couldn’t even tell you apart
I just pulled up in the Track, hundred-forty, watch it park
Racks came in, I was still in the Tonka, ha (ooh-ooh)
Racks came in, they can’t fit in this Tonka, ha (ooh)
Racks came in, but I’m still in this Tonka, yeah (ooh-ooh)
Seven mil’ on the table and I’m still sayin’ Tonka, yeah (ooh-ooh)
Luh crank, luh crank, luh crank
Luh crank, luh crank, luh crank (go)
Luh wonky, luh wonky I boot it up (boot it up, boot it up)
Eatin’ the Perc, they gon’ take me, I booted up, yeah
I’m on the Xan’ and the bean, you get smacked off
Keep on talkin’ ’bout it like that
Bitch say she love me, she addicted to crank
Bitch say she love me (what?), I don’t love her back (ha)
Some of my twizzys real deal crazy, they get you whacked
I ain’t tryna hear your music, turn it off, that shit some trash
High-octane beats, a haze of hedonism, and the relentless clinking of success; Yeat’s ‘Still countin” serves as a modern hymn to the art of material acquisition, delivering a visceral punch into the cultural zeitgeist of the rap world. The track encapsulates an aura of invincibility that comes with newfound wealth, wildly oscillating between braggadocio and a latent, surreal acknowledgment of the hollowness that often accompanies the grandeur.
Yet, as the lyrics of ‘Still countin’ bounce through the air, there’s an undercurrent of candid contemplation that rips through the surface-level narratives of luxury and excess. It’s this juxtaposition of surface excess and hidden depths that creates the track’s compelling dichotomy, inviting listeners to peel back the layers of a seemingly straightforward banger to reveal the nuanced commentary lurking beneath.
Tonka as the Trophy: Symbolism in Yeat’s Universe
At first glance, the recurrence of the word ‘Tonka,’ a brand synonymous with tough, enduring toy trucks, acts as an emblem of Yeat’s unwavering presence in the game. As Yeat juxtaposes his enormous wealth (‘racks’) with the image of a toy truck, there’s an implied continuity of self-identity—no amount of money inflates his sense of self; he remains grounded, ‘still in the Tonka.’ The ‘Tonka’ metaphor operates on another level, too, suggesting a playful, almost childlike enjoyment of the riches that the rap game has blessed him with.
However, ‘Tonka’ is juxtaposed with ‘seven mil’ on the table,’ a careful balance between the concrete reality of wealth and the simplistic joy of childhood represented by the toy. This interplay between the ‘racks’ and the ‘Tonka’ symbolizes the complex relationship between success and personal history—how the artist relates to their roots in the face of overwhelming change.
Substance Indulgence: A Double-Edged Sword
The track is laced with references to substance use, ‘Eatin’ the Perc’, ‘on the Xan’ and the bean,’ flippantly alluding to a lifestyle indulgent in prescription drugs as both a form of escapism and a rite of passage. This nod to recreational drug culture complicates the portrait of Yeat. It’s as if the drugs serve as a rudder in the chaotic sea of fame, stirring him through the waters of excess and adversity alike.
Notably, this substance use isn’t glamorized but rather stated as fact, as a coping mechanism—’I booted up’—distancing emotions and perhaps the pressures of stardom. This line becomes particularly poignant in its raw exposure of an artist navigating the extreme highs and lows of a public life where personal struggle is often masked by the seductive veneer of success.
A Rejection of Sentimentality and Faux Relations
The chorus’s cold dismissal, ‘Bitch say she love me, I don’t love her back,’ cuts through romanticism like a knife. It’s a blunt rebuke of the superficial connections that tend to orbit newfound wealth and status. Yeat displays a disdain for insincerity, separating true allegiance from the clingers-on who express affection not out of genuine attachment but out of addiction to the lifestyle he embodies (‘addicted to crank’).
This narrative thread pulls on the skepticism with which one must navigate an industry rife with opportunists and false friendships. Yeat’s sharp lines carve out a space where he is willing to openly confront the hollowness of relationships built on foundations of utility rather than genuine emotional connections.
An Insatiable Grasp for More: ‘Still countin” and the Relentlessness of Ambition
Despite the wealth that Yeat claims—’I touched me a mil,”pull up to the show, and I’m breakin’ the ceiling’—there’s an insatiable drive for more that throbs throughout the track. The recurrent mention of ‘still countin” isn’t just a brag about his bottom line; it implies a relentless forward momentum, an inability to stop or to be satisfied with the status quo.
This theme pulses against the track’s high-energy production as if to say that in the modern age, success is not a static achievement but a continuous hustle. Yet, this hustle comes with its own existential price, revealing a dark underbelly to the glitz of fame: a never-ending cycle that threatens to dehumanize even as it glorifies.
The Hidden Dialogue with Demons: Unveiling Yeat’s Psychic Battles
Perhaps the most chilling revelation in ‘Still countin” lies in the frank admission of dealing with inner ‘demons.’ The line ‘I just been callin’ my demons, I do what they say, don’t know why’ ripens with the acknowledgment of a darker dialogue beneath the luxuries and triumphs. It signals an internal conflict, suggesting that the external adversities faced by Yeat are mirrored, if not eclipsed, by the battles waged within the psyche.
This confession offers an arresting moment of vulnerability which ratchets up the complexity of the track. It isn’t just about accruing wealth or standing tall in the unforgiving industry; it’s also about grappling with the shadows that linger from past adversities, the seduction of destructive behaviors, and the constant negotiation between personal truth and public persona.
