Another string of great wordplay here. This string of contradictions – “evil genius”/“dumb shit” and “half of the time”/“keep it one hundred [percent]” sets up the idea that his mastery of crime is increasing and that he will lie to you so convincingly that you will have no idea, yet still sees himself (or is trying to) as a straightforward, stand-up person, at least some of the time

The phrase “kick in the door” here surely relates to this classic Biggie number, and is not the only Biggie reference on this record

A bunch of wordplay here sets up crime as a demanding lover – “kisses”, “flirt”, “blind date”, “one night stand”, “bitch”

The key to the verse is here: Redford knows that he is now in a dog-eat-dog situation. If he didn’t kill his antagonist, that person could very well be coming after him. This makes his boasting in the proceeding lines sound like the hollow justification it really is

This is one of the most telling, and tragic, lines in the song. Redford is trapped in a world of crime, individuality doesn’t count for shit. Each person is just a cog in a machine, quietly doing their work until the time comes for them to be replaced.

This line is also an allusion to Redford’s eventual death. Just as he is about to commit murder here, he will eventually be murdered by someone else. The individual roles could be switched out and re-arranged to infinity, but it wouldn’t change the (tragic) story.

The song here turns to Redford’s internal monologue, which here becomes – reasonably enough – self-justifying

This summary of Redford’s alienation from himself ties into the reflection/mirror motif of the album

A multi-layered line that could be read as Thought “bodying” his lyrical opponents or Redford smoothly killing his enemies while keeping his criminal profile low key. The use of the imagery of a dead body’s chalk outline lends the line extra power

Truck puts his underlife success and high-living ways in context here. As an African-American, he is not that many generations removed from not just slavery, but the near-slavery of sharecropping, which lasted well past the midpoint of the twentieth century. Instead of long days working for often no pay beyond room and board in the Southern heat, he is now “made in the shade” – living the high life