Gil Scott-Heron - Fast lane

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Watching players dealing in the fast lane
Set your camera shutters for the fast frames
Like Charlie Chaplin movies that go so quick
Fending off a stampede is no easy trick
Pulses pounding, people rounding dead ends
At this pace you'll never hold your old friends
Try to build relations that just won't stick
Examining the options you take your pick
Moving too fast?
That's a question only you can answer
Losing your grip!
Are your palms a little bit slippery, huh?
If you crash
Crash landings always got the captain to blame
But you're the captain driving in the fast lane

Losers there to see you in the fast lane
Misery loves company so they claim
Excitement is the currency we deal in
Nursing your casualties so healing
If you want to major in distraction
Too bad if you're not pleased with my reaction
But I've seen so much out here that it is real plain
That nothing last for long out in the fast lane

I don't want to come off like a preacher
But I swear it's not too late to return
Somehow square and hip got put in reverse
Putting things in fifth gear made it much worse
None of this may influence your direction
But I hope you can still take suggestions
There's a woman out there calling your name
Hope that you don't blow it in the fast lane

Moving too fast!
We're all praying that somehow you don't crash

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Gil Scott-Heron

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The American jazz poet and soul musician, Gil Scott-Heron, was notable for his work as a spoken word performer during the 1970s and 1980s.

Gil Scott-Heron is often referred to as “the Godfather of rap” and is acclaimed as one of the genre’s founders. Due to the political consciousness at the root of his work, he is also viewed as being instrumental to the establishment of political rap – “Message to the Messengers” called upon future generations of rap artists and urban poets to speak for change rather than perpetuate current social situations.

Scott-Heron’s lyricism often referenced social and political issues of the time. Themes included the superficiality of mass consumerism, white America’s ignorance of deteriorating living conditions for inner-city residents, and the hypocrisy of black revolutionaries. His critically acclaimed composition, “The Revolution Will Not Be Televised”, takes its title from a popular slogan among the 1960s Black Power movement and alludes to public figures, news coverage, television, and advertising.

Following Scott-Heron’s death in 2011, journalist Greg Kot commented on his style and technique:

Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music. Though celebrated for his political broadsides, Scott-Heron was a master of many styles. He could be playful and mischievous, and he found joy in the power of words and their ability to transform the tragic and tawdry into the comical and uplifting.