The images the media often projects as “reality” (even outside of music) is oftentimes a lie that only fools would be afraid of, whether it be the drug-selling, gang-banging image of a rapper, or Weapons of Mass Destruction.

The listener is asked which side of the debate discussed in the song they are on: those who merely use hip-hop to massage their ego and get paid, or those who use it to send a more resonant message through their lyrics?

In reality though, it’s not about “sides”, and fans of the genre should not “cheer” exclusively for either; rather they would be better off to appreciate both sides, rather than treating the genre like some sort of sports game.

The question of “should educating and entertaining keep separate?” is recalled in this line, as Voss orders the listener to spike mainstream, more influential rappers' champagne that they commonly brag about drinking with truth serum, so that honesty can once again become prevalent in hip-hop.

The listener is urged to look below the proverbial “surface” of what they hear from present day hip-hop and told to “put [their] head to the linoleum”, meaning to listen below the metaphorical “floor” (linoleum) to hear what’s going on in the “underground” of the genre.
Once they do this, they will be able to hear what the intelligent youth is really listening to, and thus become more in touch with what our future could potentially become (hopefully).

A continuation of the previous line, meaning that a lot of these “macho” types in hip-hop on power trips are motivated to act in such a way by nothing but their own insecurities.

The only way one could call such characters “complex” would be if they were commenting on their Napoleon complex (that’s wordplay, kids), which technically means that they are essentially assholes because of insecurities stemming from being short in height. However, here it refers to anyone who acts like a jerk, regardless of height, because they feel they are inadequate inside.

These “tough guy” types overpopulating hip-hop are oftentimes soft at heart, as their backbone (and entire skeleton for that matter) are compared to petroleum jelly.

Continuing with the boxing metaphors, frustrated rappers returning to drug dealing is ultimately an admission of failure in their craft (compared to a knockout in a boxing match). While they may be the kings of their neighborhood (“punch drunk off power”), they are ultimately quitters, and deep down, realize that when some real shit goes down, they will run away from it all over again (“hay-makers make the punk come out ya”).

Many aspiring emcees become frustrated with their craft for one reason or another and wind up returning to selling drugs to get by with much easier, faster money. The act of going back to their street corners to sell said narcotics is compared to boxers going back to their corners of the ring at the end of a round.

Voss admits that he knows how to play the proverbial “game” when he has to in order to avoid getting screwed over by anyone, hence the metaphor of a snake charmer thwarting the attacks of cobras.