First, he means “hit ‘em” like hit these rappers, maybe meaning to place a hit on (kill) them like in the mafia or just to straight up punch 'em in the face. And he needs to do it, he just can’t help it. In the second meaning, he means “hit” like to have sex with. He’s into redbones, a term that originally referred to a certain mixing of races that originated in Louisiana but now basically means any thin light -skinned black girl, with long hair. And again, he needs to have sex with them, he can’t help that either.

The phrase “money talks” means that money gives power to whoever has it, giving them the ability to talk or say whatever they want. Wayne is saying that if money does literally talk, his talks for a long long time, probably because there’s so much of it.

The fourth occurrence of “Boom, boom, ay” seems to be referring to the Surrealist art movement. The tone of the backing vocalists' voices suggests that he is specifically channeling the initial start of the movement, during the 1920s and 1930s where pioneer artists such as Rene Magritte and Salvador Dali made their most iconic works (i.e. Magritte’s “Treachery Of Images” and Dali’s “Persistence of Memory” [pictured below]). Surrealism was very much influenced by images in the dream state. Wax appears to have taken this idea and applied it to the idea of nocturnal emission. From this occurrence of “Boom, boom ay,” Wax reveals that the video for the song is, in fact, all a dream.

Most likely referring to the head of a Comedy Central Roast called a “roast master.” The roast master is the host of the evening and head comedian.

Before being known as the Palmer Squares, the two referred to themselves as the Ordinary Dogs, a nod to one their favorite bands the Typical Cats. They still throw the name into verses occasionally.

Referring to “King Stahlman,” a bail bond agent located in San Diego.

Wax moved from Maryland (the East coast) to San Diego (the West).