The daffodil is a flower often associated with children, thanks to the familiar image of a child blowing the weightless seeds into the wind. The seeds fortunate enough to land on soil have a chance to anchor themselves into the dirt and potentially “sprout” more daffodils. With this impressive wordplay, Dosage equates the young and impressionable child to the daffodil seed; quite fitting, as children tend to be called “our seed of tomorrow”

Here, Budden expresses extreme disinterest in living into old age, and meditates on what could be considered the ultimate irony of life:

Coming into the world as a baby, you are naturally dependent on the nurturing and care from another older individual. As you grow older and mature into an adult, you achieve independence. Unfortunately, as you continue to grow older, you reach senior citizen status, upon which you find yourself increasingly dependent on other people’s care yet again, as the memory fades and the faculties are lost (thus the imagery comparing a baby’s Pampers to an old man’s Depends). Such is the cruel humor that Father Time likes to express by taking out on the human race…

Exploring this existential irony further, Budden discusses the significance of physical appearance and mental capabilities in the role of human relations and societal functions. Society, particularly celebrity-fueled media, tends to “throw aside” adults who, despite their experience, have lost physical attractiveness — or have simply gotten “too old”

A reference to an extended metaphor Lupe had already made in his own previous song “SLR (Super Lupe Rap)” off Friend of the People

The frenetic delivery of Kreative’s verse here is a deliberate homage to the remix rapper Young Chris himself did to “Successful” back in 2009:

http://www.youtube.com/watch?v=s5oufTsPzvQ

Reminiscent of a line from Common’s “Chi-City” (not surprising, seeing as how Black Smith cites Common as one of his major influences), Smith puns on the words raps and wraps, and expresses a dislike of hip-hop tracks that focus solely upon material possessions like cars (ironic, since that’s exactly what this song seems to be focusing on). Note too the imagery here: Cars traveling on a street road will tend to wear out both the tires of the automobile as well as the literal pavement of the road itself

Hip hop fans familiar with the original Common line might also see a connection between the verse here and Common’s classic “I Used To Love H.E.R.”, in which hip-hop itself is personified as a woman. Could that actually be the relationship Smith is stressing himself about throughout this verse??

However, Smith does admit one weakness: Women.

It appears a certain woman is gaining his attention, and making her way into his heart. But Smith’s use of the word “devil” here relays some serious undercurrent of paranoia, as his growing attachment surprises even him…

Once again, Smith repeats the theme of the song’s hook, almost as if trying to convince himself that this is indeed his goal

Black Smith, with whom Doo-Bay worked closely crafting the sound for the Animus Vox EP, featured a few times on the tape. His verse is uncredited in the track title, leaving it a surprise to the listener