Born 7-8-1982 coming at you live
But dead cuz I'll die the second I'm out this sound booth
A sight for soaring eyes living normal story lives
The old tale that be like "Oh well, it's before your time"
14 years down the line since I wrote my first rhymes
IT feels great I'm glad I made myself wait like past lives
The Deity got hired, fired, then back as a re-hire
Tired of jobs ready to grind til I retire
I don't know what I'm doing I keep my eyes on the prize
Born again southern California orphan in origin
From orchids to scorpions metamorphing my audience
Sorry if it gets obvious or if it gets boring just already know
It'll all be over soon as I'm done recording it
Daddy was a Vietnam vet Mommy was a convict
"Mike we already know, man. Why don't you just get off it"
Well I'm being honest with the topic of hardship
Kingdom come God sent freedom don't run from no conflict
I don't know what I'm doing I keep my eyes on the prize
I promised my friends I'd have ends to spend with them
I promised my bigger brothers they'd see they youngest of us win
I promised my crew Doomtree would compare to nothing
I promised Lazerbeak I'd come back to Minneapolis hungry
I promised my family that this was just the man in me
I promised my girl the world but only gave her insanity
I promised myself good health, wealth and consciousness
Then I promised to God I was gonna keep all my promises
I don't know what I'm doing I keep my eyes on the prize
To my surprise fought people twice my size
To your surprise struggle would get to many lives
And you can't always get what you want
But when you've wanted it for so long and you get it it's gotta be good
From a phoenix to a pigeon to a dove
Till my 6 feet's been dug til they pull me up above
Til the flames surround me til they drown me
I could never give this up
I will never give this up
credits
from Hand Over Fist,
released September 23, 2008
Written by Mike Mictlan for Deity For Hire (ASCAP)
Produced by Lazerbeak for Legend Recognize Legend (ASCAP)
It's rare for a musician, especially in hip-hop, to allow themselves to be truly vulnerable. In Children's Work Dessa achieves this and the effect is both powerful and intimate. ActuallyAlison