Introduction: A Funky, Iconic Track
Eminem’s "Without Me," from The Eminem Show, is an iconic track that captures the rapper’s irreverent humor and sharp social commentary. From the very start, with its catchy, funky beat and playful production, Eminem sets the stage for a song that feels larger than life. The collaboration between Jeff Bass, DJ Head, and Eminem himself creates an infectious rhythm, immediately grabbing the listener's attention. Eminem’s delivery, full of brash confidence and sarcasm, reinforces the song’s message: that the rap scene, and indeed the broader pop culture landscape, feels incomplete without him.
Production and Instrumental Elements
The instrumental’s distinct trumpet-like synth stands out as a key element, giving the track a quirky yet powerful backdrop. This production choice complements the mischievous tone of Eminem’s verses, as he delivers rapid-fire bars with a playful defiance. His wordplay, filled with double entendres and cultural references, keeps the listener engaged as he ridicules everything from his critics to pop culture icons. Eminem's ability to turn serious issues into humor is on full display here, as he balances light-hearted jabs with biting commentary.
Lyrical Themes: A Declaration of Importance
Lyrically, "Without Me" is a declaration of Eminem's self-importance in the music industry. He positions himself as a provocateur, necessary for stirring up controversy and injecting life into a stagnant scene. Lines like “Guess who’s back, back again?” are not just catchy hooks, but statements of his relevance and enduring presence. The verses dive into various topics, from the FCC’s censorship to pop culture feuds, showcasing Eminem’s skill in weaving commentary with humor. His brash persona as Slim Shady takes center stage, ensuring the song remains both entertaining and provocative.
Technical Mastery: Poppy Yet Complex
One of the song's strengths lies in its ability to tackle dense subject matter in a "poppy" format. Despite the fun, upbeat nature of the track, Eminem’s delivery is technically complex, with tightly packed rhymes and internal wordplay that make this one of his most intricate performances. This duality—being both accessible and layered—solidifies "Without Me" as a standout single, proving Eminem’s mastery of commercial appeal without sacrificing lyrical substance.
Without Me Review: Eminem’s Cultural Relevance
Ultimately, "Without Me" is a quintessential Eminem track that blends wit, controversy, and technical brilliance. Its success across international charts, and its role as a lead single, showcases its broad appeal while also cementing Eminem’s role as a cultural provocateur. The song’s playful yet defiant tone is a testament to his ability to command attention, making sure that—even years later—things still feel "empty" without him.
Listen to Eminem Without Me
Eminem Without Me Lyrics Meaning Explained
The meaning of "Without Me" by Eminem is multifaceted, operating on several levels simultaneously. It's a boisterous declaration of his return to the music scene after a two-year hiatus, a defiant assertion of his importance to the industry, and a complex exploration of his own persona and the burden of fame. Through clever wordplay, targeted disses, and self-aware humor, Eminem tackles themes of censorship, generational divides, the duality of his artistic identity, and the symbiotic relationship between artist and critic. The song acts as both a celebration of his controversial status and a subtle critique of the media landscape that both condemns and fuels his notoriety. Ultimately, "Without Me" is a powerful statement from an artist who understands his influence and refuses to be silenced, even as he grapples with the consequences of his own creation.
Deconstructing the Intro to "Without Me"
Promoting a Protégé and Emphasizing Authenticity
The intro begins with a seemingly simple yet strategically important line: "Obie Trice, real name, no gimmicks / Ra—". This serves as a direct promotion for Eminem's protégé, Obie Trice, leveraging Eminem's established platform to introduce him to a wider audience. The sudden cut-off after "Ra—" creates a sense of anticipation for Trice's upcoming work. The phrase "real name, no gimmicks" not only emphasizes authenticity, a recurring theme in Eminem's work, but also subtly foreshadows the exploration of identity—specifically, the conflict between Marshall Mathers and his Slim Shady persona—that unfolds throughout "Without Me." The added background information about Proof's role in giving Obie Trice his stage name adds a deeper layer of meaning for dedicated fans, connecting the song to Eminem's inner circle and Detroit hip-hop history.
A Nod to Hip-Hop History and a Return to Roots
The following lines introduce the catchy, repetitive phrase "Two trailer park girls go round the outside...". This is a deliberate interpolation of Malcolm McLaren's "Buffalo Gals," a song with historical significance in hip-hop due to McLaren's status as a white artist who embraced the genre, paving the way for artists like Eminem. By changing "buffalo gals" to "trailer park girls," Eminem firmly grounds the song in his own personal narrative and often-discussed "white trash" background—an identity he simultaneously embraces and critiques. The repetition of "round the outside" establishes a hypnotic, almost childlike sing-song quality.
Irony, Visual Connections, and Playful Energy
This seemingly innocent melody in "Two trailer park girls..." creates a stark and ironic contrast with the aggressive, often explicit, lyrics that follow. The phrase also has a crucial visual connection: it links back to the artwork by Skam2 for The Slim Shady LP, where two trailer park girls chase a mummified Slim Shady. This visual callback reinforces the self-referential nature of "Without Me" and provides a sense of continuity for long-time fans, demonstrating the evolution of Eminem's artistry while maintaining core elements of his persona. The "Woo (Ooh, ooh)" adds a final touch of playful energy, a deceptive calm before the lyrical storm that is about to begin.
The Refrain: A Triumphant Return and a Satirical Jab
"Guess Who's Back?": Announcing a Comeback
The refrain explodes onto the scene with the instantly recognizable and iconic line, "Guess who's back, back again?". This isn't merely an announcement; it's a declaration. After a two-year hiatus, Eminem makes a powerful re-entrance, reminding the world of his presence and reclaiming his position as a dominant force in hip-hop. The repetition throughout the refrain, building with increasing intensity, amplifies the message of his return and creates a sense of excitement and anticipation. The familiarity of the phrase, used by numerous rappers (including his associate 50 Cent), adds another layer of meaning. While others may have used it, the line becomes undeniably his in this context, further solidifying his iconic status. The underlying Dr. Dre beat, Eminem's distinctive nasal delivery, and the complex lyrical dexterity that unfolds throughout the song leave no doubt: Slim Shady is back.
"Tell a Friend": A Dose of Humor and Social Commentary
The seemingly simple line "Shady's back, tell a friend" is more than just a catchy rhyme. It injects a dose of humor into the refrain, showcasing Eminem's playful side. While he is undoubtedly a masterful lyricist, this line isn't about complex wordplay; it's about a deliberately goofy, almost childlike simplicity. This adds a layer of self-awareness to the song. He's not just boasting about his return; he's also poking fun at the very act of boasting. Furthermore, "tell a friend" can be interpreted as a satirical jab at advertising culture. By mimicking the enthusiastic urgings of commercials, Eminem subtly critiques the pervasive nature of marketing and its often-exaggerated claims. This adds a layer of social commentary to the refrain, hinting at the broader themes of media manipulation and consumerism that he explores throughout his work. The "da-da-da" vocalization that follows further emphasizes the playful, almost cartoonish nature of this section, providing a brief moment of levity before the song dives into more serious and complex themes.
Verse 1: The Monster, the Persona, and the Provocateur
The Duality of Marshall and Shady
Verse 1 immediately dives into the complex relationship between Eminem and his Slim Shady persona. "I've created a monster / 'Cause nobody wants to see Marshall no more, they want Shady, I'm chopped liver" reveals a deep-seated insecurity. The Frankensteinian allusion isn't just a clever reference; it's a confession of having unleashed something uncontrollable and potentially destructive. This "monster" is Shady, the outrageous, often offensive alter ego that has become more popular than Marshall Mathers, the man behind the mask. The "chopped liver" line expresses a sense of being overlooked and undervalued, a feeling that his true self is being disregarded in favor of the caricature. This sets up a central conflict that runs throughout the song and Eminem's career: the struggle between the artist and the persona, the public's desire for entertainment versus the individual's need for authenticity. The irony is palpable: critics and activists condemn the very persona his fans crave, creating a push and pull dynamic that fuels his controversial status.
Shady's Recipe and Reckless Abandon
The lines "Well, if you want Shady, this is what I'll give ya / A little bit of weed mixed with some hard liquor" offer a glimpse into the genesis of the Slim Shady persona. He's not just a character; he's a product of substance abuse, a manifestation of Eminem's struggles with addiction. This raw honesty adds a layer of depth to the seemingly cartoonish character, hinting at the darker realities beneath the surface. The subsequent lines, "Some vodka that'll jump-start my heart quicker / Than a shock when I get shocked at the hospital / By the doctor when I'm not cooperating / When I'm rockin' the table while he's operating," extend this theme of recklessness. The extended metaphor of the uncooperative patient isn't just about defying authority; it's about a self-destructive disregard for consequences, a key characteristic of the Shady persona. The double meaning of "operating" – referring to both the doctor's actions and Dr. Dre's work on the turntables – adds a layer of wordplay and connects the personal with the professional.
Confronting Critics and Censorship
The verse then shifts focus to external pressures. "You waited this long, now stop debating / 'Cause I'm back" directly addresses the anticipation and skepticism surrounding his return after a two-year hiatus. The crude but effective line "I'm on the rag and ovulating" reinforces his provocative nature, using deliberately offensive language to assert his presence and challenge societal norms. The lines about Lynne Cheney and her husband's heart problems aren't just personal attacks; they're a commentary on hypocrisy and misplaced priorities. He calls out Cheney's criticism of his music while suggesting she should focus on more pressing matters. The following lines about the FCC and MTV highlight the attempts to censor his music. The internal rhyme and assonance in "The FCC won't let me be / Or let me be me, so let me see / They tried to shut me down on MTV" emphasize his frustration with being silenced. The clever wordplay in the MTV line – the subtle echo of "empty" in the pronunciation – further reinforces the idea that the media landscape is incomplete without him.
A Middle Finger to Censorship and a Family Feud
The lines "So come on and dip, bum on your lips / Fuck that, cum on your lips and some on your tits" are a blatant rejection of censorship. The abrupt shift from a relatively tame line to an extremely vulgar one is a deliberate provocation, a middle finger to those who try to control his expression. The final line, "I just settled all my lawsuits (Fuck you, Debbie)," adds a personal dimension to his defiance. The throwaway diss at his mother, Debbie Mathers, reflects their tumultuous relationship and the legal battles they've endured. It's a raw, unfiltered moment that reveals the personal cost of his public persona.
The Chorus: A Call to Arms and a Declaration of Importance
The Superhero's Entrance
The chorus of "Without Me" functions as a powerful declaration of Eminem's self-perceived role in the music industry. "Now, this looks like a job for me" isn't just a catchy line; it's a deliberate positioning of himself as a necessary force, a superhero swooping in to save the day. This is reinforced by the music video, where he portrays Robin, albeit a somewhat subversive and comedic version. However, the sentiment aligns more closely with Superman's iconic phrase, suggesting a messianic complex, a belief that he is uniquely equipped to handle the situation. The "job" he's referring to is the injection of controversy and excitement into a music scene he perceives as stagnant. He sees himself as the antidote to boredom, the one who can shake things up and challenge the status quo.
"Follow Me": An Invitation to Rebellion
The line "So everybody, just follow me" is a call to arms, an invitation to join his rebellious movement. He's not just a rapper; he's a leader, a provocateur who encourages his listeners to embrace their individuality and challenge authority. This resonates with his image as a counter-cultural icon, someone who speaks for the marginalized and disaffected. He's inviting his audience to follow him not just musically, but ideologically, to embrace his worldview and reject conformity. This reinforces the idea that he represents something more than just entertainment; he represents a spirit of rebellion and a challenge to established norms.
The Necessity of Controversy
The core message of the chorus is encapsulated in the lines "'Cause we need a little controversy / 'Cause it feels so empty without me." Eminem explicitly states that controversy is essential, a vital ingredient in the recipe for a vibrant and engaging music scene. He argues that without it, the industry becomes bland and uninspired. The repetition of "it feels so empty without me" reinforces his belief in his own importance, suggesting that he is the source of this necessary controversy. This isn't just arrogance; it's a calculated statement about his unique position in popular culture. He acknowledges the two-year gap since his last album, The Marshall Mathers LP, and implicitly criticizes the state of music during his absence. By listing the top-selling albums of 2001 – Michael Jackson, Shaggy, 'N Sync, Enya, and Staind – he highlights what he perceives as a lack of personality, charisma, and, most importantly, controversy. He positions himself as the solution, the artist who can bring back the excitement and spark debate. The repetition of the entire chorus further emphasizes these points, driving home the message of his return and the self-proclaimed importance of his role in the music world.
Verse 2: The Rebel, the Visionary, and the Nuisance
Generational Divide and the Cycle of Rebellion
Verse 2 opens by establishing a generational conflict. "Little hellions, kids feeling rebellious / Embarrassed, their parents still listen to Elvis" paints a picture of youthful defiance clashing with the perceived conservatism of the older generation. Eminem's young fans, labeled "hellions" by the media, find his music liberating, a stark contrast to the now-tame rock and roll of their parents' generation. This highlights the cyclical nature of musical rebellion. Elvis, once a symbol of youthful defiance, is now relegated to "old-people music." Hip-hop, in turn, inherits the mantle of rebellion. The comparison between Eminem and Elvis, both superstars in predominantly Black genres accused of corrupting youth, further emphasizes this cyclical pattern. The music video's parody of moral guardians trying to prevent a child from buying The Eminem Show satirizes the overblown reactions to his music.
Liberation through Vulgarity and a Visionary's Threat
The lines "They start feelin' like prisoners, helpless / 'Til someone comes along on a mission and yells, 'Bitch'" describe the sense of liberation Eminem's music offers his young fans. The "Bitch" sample from N.W.A.'s "A Bitch Iz a Bitch" isn't just a provocative soundbite; it's a sonic representation of breaking free from societal constraints. Eminem positions himself as a liberator, offering an escape from the perceived "prison" of parental expectations and societal norms. He declares himself "A visionary, vision is scary," embracing his role as a disruptive force. His vision for the future of music, and perhaps even society, is unsettling to those in power, represented by concerned parents. "Could start a revolution, pollutin' the airwaves / A rebel" further solidifies his image as a revolutionary, challenging established norms and "polluting" the mainstream with his subversive message.
Irony, Attention, and the Price of Fame
The lines "so just let me revel and bask / In the fact that I got everyone kissin' my ass / And it's a disaster, such a catastrophe / For you to see so damn much of my ass, you asked for me?" are laced with irony. He acknowledges the attention he receives, even if it's fueled by outrage and disgust. The wordplay on "disaster" and "catastrophe," emphasizing the "ass" sound, adds a layer of dark humor. This passage explores the complex dynamics of fame and notoriety: the public's fascination with his outrageous behavior, his willingness to provide it, and the potential consequences for both.
Media Manipulation and the "Nuisance" Factor
The Batman theme song reference in "Well, I'm back, da-na-na-na..." connects to the music video's superhero motif, reinforcing his larger-than-life persona. "Fix your bent antenna, tune it in" is a call to pay attention, to tune into his frequency and receive his message. The line "the best thing since wrestling" is a provocative comparison, linking his entertainment value to the often-criticized world of professional wrestling, further solidifying his appeal to rebellious youth. "Here's my ten cents, my two cents is free" emphasizes his outspoken nature and his refusal to be silenced. He offers his opinion freely, whether solicited or not. The final lines, "A nuisance, who sent? You sent for me?", address his critics directly. He acknowledges his "nuisance" factor, but points out the irony: it's the very people who complain about him who keep him relevant, fueling his notoriety with their attention. This sets up a cyclical relationship between artist and audience, controversy and attention, that continues to define Eminem's career.
Verse 3: Targeted Disses, Lyrical Prowess, and the Elvis Complex
"A Tisket, a Tasket": Mocking His Opponents
Verse 3 begins with a series of pointed disses, demonstrating Eminem's lyrical dexterity and sharp wit. The opening lines, "A tisket, a tasket, I'll go tit-for-tat wit' / Anybody who's talkin', 'This shit, that shit'," set a confrontational tone. The nursery rhyme reference, "A-tisket, A-tasket," adds a layer of mockery, infantilizing his opponents and suggesting their criticisms are childish and insignificant. The potential double meaning of "tisk-it" as a disapproving "tsk" further reinforces his disdain for those who question him. He's not just responding to criticism; he's belittling it.
From Boy Bands to Rap-Rock: A Series of Jabs
The disses themselves are targeted and specific. Chris Kirkpatrick of *NSYNC becomes a victim, likely due to his past responses to Eminem's earlier disses. The line "Worse than them little Limp Bizkit bastards" reflects a shift in Eminem's relationship with the rap-rock group, highlighting the fickle nature of alliances in the music industry. The context of their past collaborations and shared tours makes the diss even more pointed.
The Moby Diss: A Complex and Controversial Attack
The most controversial diss is directed at Moby. "And Moby? You can get stomped by Obie / You thirty-six-year-old bald-headed fag, blow me / You don't know me, you're too old, let go" is a complex and problematic attack. While the homophobia is undeniable and inexcusable, the lines also reveal deeper insecurities. Eminem's response to Moby's criticism of his misogyny, homophobia, and racism is to double down on homophobic slurs, a pattern of defensiveness that often characterizes his responses to criticism. The ageist comments, "You're too old, let go / It's over," reflect anxieties about his own relevance and longevity in the rapidly changing music landscape. The dismissive line "nobody listens to techno" further reveals these anxieties, as he attempts to diminish Moby's artistic credibility.
Lyrical Prowess and the Shadow of Prince
Following the disses, Eminem shifts focus to his own lyrical skills. "Now, let's go, just give me the signal / I'll be there with a whole list full of new insults" reinforces his reputation as a master of wordplay and a relentless battle rapper. "I've been dope, suspenseful with a pencil / Ever since Prince turned himself into a symbol" is a boastful declaration of his lyrical prowess, referencing Prince's name change as a marker of his own artistic development. The subtle pun on "symbol" and "cymbal" adds a layer of playful wit.
The Burden of Fame and the Embrace of Obscenity
The lines "But, sometimes, the shit just seems / Everybody only wants to discuss me / So this must mean I'm disgusting" express the burden of fame and the constant scrutiny he faces. He uses clever wordplay to link "discuss" and "disgusting," highlighting how the constant conversation around him often revolves around negativity and criticism. He acknowledges this with "But it's just me, I'm just obscene," embracing his controversial image and accepting his role as a provocateur.
The Elvis Complex and the White Rapper's Dilemma
The final lines of the verse address more complex themes of race and appropriation in the music industry. "Though I'm not the first king of controversy / I am the worst thing since Elvis Presley / To do Black music so selfishly / And use it to get myself wealthy" is a self-aware commentary on his position as a white artist in a predominantly Black genre. The Elvis comparison isn't just a boast; it's an acknowledgement of the complicated history of white artists profiting from Black music. The lines "There's a concept that works / Twenty million other white rappers emerge" further explore this theme, referencing the influx of white rappers following his success. However, he concludes with "But no matter how many fish in the sea / It'd be so empty without me," reaffirming his unique position and asserting his irreplaceable value in the music landscape. This ties back to the chorus's theme of filling a void, suggesting that even with increased diversity, his particular brand of controversy is essential. The playful analogy of the dating pool ("plenty of fish in the sea") adds a layer of ironic humor, perhaps even hinting at a subliminal message to Mariah Carey, further complicating the narrative.
The Outro: A Playful Juxtaposition and a Final Jab
"Hum, dei-dei, la-la": Embracing Absurdity
The outro of "Without Me" begins with a seemingly nonsensical sequence of vocalizations: "Hum, dei-dei, la-la / La-la, la-la-la..." This playful, almost childlike melody stands in stark contrast to the aggressive and complex lyrics that precede it. This juxtaposition of absurdity and seriousness is a hallmark of Eminem's style, highlighting his ability to seamlessly blend humor and social commentary. The "la-la"s can be interpreted as a release of energy, a moment of levity after the intense lyrical barrage of the song. It also suggests a playful disregard for convention, a refusal to take himself too seriously despite the weighty topics he addresses. The fact that Eminem has admitted to goofing around in the studio further reinforces this
interpretation, suggesting that the outro is a spontaneous expression of his playful nature.
"Kids!": Irony, Sarcasm, and Parental Advisory
The final word of the song, "Kids!", is a multi-layered exclamation that adds a final touch of ironic commentary. In the context of the music video, where Eminem and Dr. Dre (dressed as Robin and Blade) chase a child who bought an explicit copy of The Eminem Show, the word takes on a sarcastic tone. The video itself parodies the moral panic surrounding Eminem's music and the lengths parents go to shield their children from it. The final shot of the Parental Advisory sticker further underscores this point. By including "Kids!" at the end of the song, Eminem simultaneously acknowledges the concerns about his influence on young listeners while also mocking the absurdity of the situation. He's essentially saying, "Yes, my music is explicit, but it's up to parents to monitor what their children consume." This final jab encapsulates the overall tone of the song: a defiant, self-aware, and often ironic commentary on fame, controversy, and the artist's role in society. The seemingly lighthearted outro, therefore, serves as a complex and thought-provoking conclusion to a song packed with lyrical dexterity, social commentary, and personal reflection.
Eminem Without Me Lyrics
[Intro: Obie Trice & Eminem]
Obie Trice, real name, no gimmicks
Ra—
Two trailer-park girls go round the outside
Round the outside, round the outside
Two trailer-park girls go round the outside
Round the outside, round the outside
Woo (Ooh, ooh)
[Refrain: Eminem]
Guess who's back, back again?
Shady's back, tell a friend
Guess who's back, guess who's back
Guess who's back, guess who's back
Guess who's back, guess who's back
Guess who's back
(Da-da-da, da, da, da, da, da, da)
(Da-da-da, da, da, da, da)
[Verse 1: Eminem]
I've created a monster
'Cause nobody wants to see Marshall no more, they want Shady, I'm chopped liver
Well, if you want Shady, this is what I'll give ya
A little bit of weed mixed with some hard liquor
Some vodka that'll jump-start my heart quicker
Than a shock when I get shocked at the hospital
By the doctor when I'm not cooperating
When I'm rockin' the table while he's operating (Hey)
You waited this long, now stop debating
'Cause I'm back, I'm on the rag and ovulating
I know that you got a job, Ms. Cheney
But your husband's heart problem's complicating
So the FCC won't let me be
Or let me be me, so let me see
They tried to shut me down on MTV
But it feels so empty without me
So come on and dip, bum on your lips
Fuck that, cum on your lips and some on your tits
And get ready, 'cause this shit's about to get heavy
I just settled all my lawsuits (Fuck you, Debbie)
[Chorus: Eminem]
Now, this looks like a job for me
So everybody, just follow me
'Cause we need a little controversy
'Cause it feels so empty without me
I said this looks like a job for me
So everybody, just follow me
'Cause we need a little controversy
'Cause it feels so empty without me
[Verse 2: Eminem]
Little hellions, kids feeling rebellious
Embarrassed, their parents still listen to Elvis
They start feelin' like prisoners, helpless
'Til someone comes along on a mission and yells, "Bitch"
A visionary, vision is scary
Could start a revolution, pollutin' the airwaves
A rebel, so just let me revel and bask
In the fact that I got everyone kissin' my ass
And it's a disaster, such a catastrophe
For you to see so damn much of my ass, you asked for me?
Well, I'm back, da-na-na-na, na-na-na-na-na-na
Fix your bent antenna, tune it in, and then I'm gonna
Enter in and up under your skin like a splinter
The center of attention, back for the winter
I'm interesting, the best thing since wrestling
Infesting in your kid's ears and nesting
Testing, "Attention, please"
Feel the tension soon as someone mentions me
Here's my ten cents, my two cents is free
A nuisance, who sent? You sent for me?
[Chorus: Eminem]
Now, this looks like a job for me
So everybody, just follow me
'Cause we need a little controversy
'Cause it feels so empty without me
I said this looks like a job for me
So everybody, just follow me
'Cause we need a little controversy
'Cause it feels so empty without me
[Verse 3: Eminem]
A tisket, a tasket, I'll go tit-for-tat wit'
Anybody who's talkin', "This shit, that shit"
Chris Kirkpatrick, you can get your ass kicked
Worse than them little Limp Bizkit bastards
And Moby? You can get stomped by Obie
You thirty-six-year-old bald-headed fag, blow me
You don't know me, you're too old, let go
It's over, nobody listens to techno
Now, let's go, just give me the signal
I'll be there with a whole list full of new insults
I've been dope, suspenseful with a pencil
Ever since Prince turned himself into a symbol
But, sometimes, the shit just seems
Everybody only wants to discuss me
So this must mean I'm disgusting
But it's just me, I'm just obscene (Yeah)
Though I'm not the first king of controversy
I am the worst thing since Elvis Presley
To do Black music so selfishly
And use it to get myself wealthy (Hey)
There's a concept that works
Twenty million other white rappers emerge
But no matter how many fish in the sea
It'd be so empty without me
[Chorus: Eminem]
Now, this looks like a job for me
So everybody, just follow me
'Cause we need a little controversy
'Cause it feels so empty without me
I said this looks like a job for me
So everybody, just follow me
'Cause we need a little controversy
'Cause it feels so empty without me
[Outro: Eminem]
Hum, dei-dei, la-la
La-la, la-la-la
La-la, la-la-la
La-la, la-la
Hum, dei-dei, la-la
La-la, la-la-la
La-la, la-la-la
La-la, la-la
Kids
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