 When I'm in the studio, it's like it don't take me no time. It don't take me no time. By the time I write the song before I get the beat. So song by the time, by the time I write the song first, then I go sit down one of my pilots telling them, you know, this how to beat your sound. Da, da, da, da, da, da, da, da, da, da, da, da, da. You already tell him. And then he'll do it. Da, da, da, da, da, da, da, da, da, da, da, da, da. And he gonna get that on. He gonna get that on. You just gonna give him the sound. This how I feel to be broken. It going in, learning I'm full of emotion. It killing. It don't show no emotion. Guess you don't feel me no more. Yeah, go through this time after time, leave at the drop of a dime, bitch, you broke this. Da, da, da, da, da, da. I give a fuck how you feeling. Go get the fuck out your feelings. I fucked on time and I told you I'm finished, but what I ain't dealing with. Yeah, we on boss talk one on one. That's the thing. That's why, especially if I go back in time, like especially if I'm talking to a young, when I'm talking to the youngsters, like you can't quit. Three years ago. Three years ago, you didn't have outside. You might have had it, but it wasn't nobody on the verse yet. You just was coming out with it, right? Shit, three years ago, I didn't have outside. You didn't have outside three years ago? I ain't had outside three years ago. So two years ago, top of two years ago. I think yeah, that was two years ago. Two years ago, you cut, you right outside. Two years ago, man. What was your mind when you wrote outside, bro? In the deep dark. Like what the hell was you thinking? We step in nine days. You know, it was just on something like this. You know, I don't know if on that song, it was on something you said on there. You said something on that song to the fact. You like, even Moses had to kill one on that one version. You didn't say that on the blue face, did you? That's right. I had to smoke him, even Moses had to kill. That's on both versions. That's on both? Hey, that boy stuck in my head. You sure? I know it's on the M3 version. That's on both versions. It's on both versions. So that was your verse on, you had that when you went each time. Did you have that before you even, because that first? No, no, no, no, no, no, no, no, no, no, that's, blue face version and M3 version, I never even recorded anything. All of them is just from my original version. Okay, so it is on there? So that's the, all of that's the, I didn't even smoke them, even Moses had to kill one. That's really the first verse. That was the original first verse on that side. What made you, what took you to that spot to place you in that place before you even put them on the song? Shit, don't you mean on that bar? On that bar. I love it. Because you gotta understand that matches with what M3 was doing, bro. It matched exactly cause he say, he heard that. So he heard yours though. Yo. I heard you say that even Moses had to kill one. Yeah, yeah, yeah, yeah. He had to cause he was on the, For sure, for sure. So that'll take you to a play cause he says like, Yeah, to a place where he says it. Please, would you feel my need? Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. I'm just trying to figure out how, and you'll never know it cause he not here to say it, how he got to that place. But then I see where you said even Moses had to kill one was already there. Well, see the song gonna take you to that place naturally, the choirs on it, the everything about it. It's a blue phase went to a different place than M3. Listen, they were different. I can tell you how M3 did, cause like I said, when M3 was traveling, he said he's always playing in the car. So when you in the car sitting by chilling, you gonna think about a lot of shit. You gonna think about it. Real talk, real talk, real talk. You gonna think about it. That's where my best songs come from in the car. Yeah, not real. It don't come from going to the studio sitting, it comes from in the car sitting down and chilling by yourself. Everybody got a different process though. I've never. No, this time, don't listen. I never make songs in the studio. I don't never, I don't never go to the studio and make a song there. You're not gonna feel it. When I get to the, when the time I get to the studio, the song's done. Like the songs, the song's wrote, beats ready. When I put them to the studio, it takes me 20 minutes. 20 minutes. I'm not, no. Cause you already done pre-time, pre-sign. That's another thing. That's one difference between me and a lot of others. I'm not in the studio. I don't even, I'm not, I don't, I'm not the nigga that father in love with being in the studio. That's something that my manager wanted me to do. Really bad. You need to be in the studio. I'm trying to be, I'm trying to be with my son. Yeah, yeah, that's a value, but I'm, I'm trying to be chilling with, I'm trying to be with my family. You know, I'm really not, I'm not really just no studio nigga. So I don't really, I'll be in the studio. When I'm in the studio, it's, like it don't take me no time. It don't take me no time. By the time I, I write the song before I get to beat. So song, by the time, by the time I write, I write the song first, then I go sit down one of my pilots telling them, you know, this how to beat your son. Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, You already telling them. And then he'll do it. Da, da, da, da, da, da, da, da, da, da, da, da, da, da, And he gon' get that on. He gon' kill, he gon' kill that on. He gon' kill that on. You just gon' give him the sound. This how I feel to be broken. It goin' in. That ain't how I'm full of emotion. It killin'. Get on son or emotion. Guess you don't feel me no more. Go through this time after time, leave at the drop of a dime, bitch, you bogus. Da, da, da, da, da, da, da, da, da, da, da, da, da, da, I give a fuck how you feelin'. Go get the fuck out your feelings. I fucked on time and I told you I'm finished, but what I ain't dealin' with is you actin' like you all innocent. You hoes on that friendly shit. Then come around and try to be down for the benefits. Nah. Da, da, da, da, da, da, da, da, da, da, da, da, da, Take a step back, my nigga. Da, da, da, da, da, da, da, da, da, da, da, da, da, Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, I send you back to that nigga. Tell her a thousand dimes, about a thousand times. You bitch is way out of line and you notice. Da, da, da, da, da, da, da, da, da, da, da, da, That process. Go through this time after time, leave at the drop of a dime, bitch, you bogus. Da, da, da, da, da, da, da, da, da, da, da, da, da, That's the time I gotta work on when I get back to Houston. And you, you know you already were, the process is there. By the time I get to the studio, I know the song by heart. But it's already my favorite song. And they already gonna make your mouth to that sound. They gonna, they gonna go put, they gonna play exactly how I was singing it. They gonna make, they gonna get on them keys and play this shit out. They gonna put them sounds, they gonna put them drums on that bridge. This shit gonna sound good. And it's over. It's over. Damn. You just made me think of a new way. That's how I made, I'm gonna hear it. I never get, I've never been an artist to get, I'm not, I might have three, four songs or unless I'm gonna feature it. Yeah. I might have three songs or four songs that I've ever recorded where I heard a beat. Cause you know, Nick has sent you so many beats. And a lot of times I'm hoes, they don't even beat my type. Yeah. They don't even get that too. The shit don't sound good to me. So it's like, I'm gonna have to listen to 700 beats to find me three beats. I'm not listening to those 700 beats. I ain't got time. Yeah, we on Boss Talk 101.