Hoes watch his every move like they’d watch actors in a dinner theater performance (dinner theater=basically the cheap, middle-class form of opera) and wait for an opportunity to stroke him off through a glory hole.

Jonwayne opens with what sounds like a flip on an old proverb, and then flips it again because fuck you.
An old American saying is “You can take the boy out of the country, but you can’t take the country out of the boy,” referencing the divide between city and rural life that was a definitive part of the American experience around the turn of the 20th Century. “…and never get reciprocal” is essentially a fancier way to complete this variant of that proverb (reciprocal=flipped, reversed)
This may indicate that Jonwayne feels out of place in rap, as it’s taken him outside his realm of experience (his universe). However, everything he’s been through and experienced he carries within him, making him something totally unique to the game.

“Faces” represent the character traits of other human beings.
The story opens on our unnamed protagonist, who doesn’t seem to think much of himself, first starting to see other people with the qualities he desires.

Note Byrne’s word choice: “thought” and “might” both connote insecurity or at least uncertainty, implying that this man actually doesn’t really know what he wants to be, except something other than himself.

Lurch was the absurdly tall, Frankenstein-esque butler of The Addams Family, although his relationship to the family, if any, was never detailed (Tyga’s probably thinking of Cousin Itt).

Likely meant to be a comparison between Durst and Chuck D of Public Enemy fame…ironic as one is famous for making conscious afro-centric hip hop and the other is so symbolic of the archetypal “White rapper”