Released: February 17, 2017

Featuring: Pusha T

Songwriter: Pusha T Flume

Producer: Flume

[Verse 1: Pusha T]
Yeah, King Push
I could tell you what the Porsche cost, what my wrist like
What a brick weigh, what your bitch like
Ace bottles and late models, niggas happy with the base model
Fashion God from Bape model, they follow
I'm the culture, KRS in a roadster
Poetry, Scott La Rock with the coca, I'm the joker
My bitch got the poker face, she a soldier
Might let you fuck just so she can show me the safe
Yugh! I did live through drug wars, open suicide doors
Fuck the bitch on mink floors but it ain't enough
Yugh! Seen the world on these tours, pour champagne 'til I'm bored
Yugh! I partied off shores but it ain't enough, yugh!

[Verse 2: Pusha T]
Motivate or I can be a menace, you got two choices
I got one chopper, I'm hearing voices
I'm seeing visions, these Rolls Royces
In arm's reach, I come creep, these snakes are poisonous
Oyster perpetual lifestyle, look at the watch on me right now
Bezel blinding like a bright cloud
It's a drug dealer's dream
Everything that I say is everything that I mean
Let's weigh it up

[Verse 3: Pusha T]
Check, kilogram on the neck, money, power, respect
Real shooter's on deck, but it ain't enough
Yes, man, I just got the text, she's just waiting, undressed
Her girlfriend brought the checks, she ain't enough
Everybody get the tech, all you niggas hit the deck
Bitches think he got next, but it ain't enough
Haters still wanna test, but I just say, "Fuck the rest"
Always gave her my best, but it ain't enough

Flume

Flume is the stage name of Australian electronic producer Harley Edward Streten. He first started producing music at 13, and initially released house music under the alias HEDS.

In 2011, Flume was discovered by Australian electronic label Future Classic, after submitting early tracks to a competition run by the label. In 2012, he released his self-titled debut album, Flume, which featured collaborations with artists like How To Dress Well and Chet Faker.

Flume’s described his sophomore album Skin as “headphone music,” a departure from the “festival music” that helped him make a name for himself.