NYC Lyrics in English Gaël Faye

Below, I translated the lyrics of the song NYC by Gaël Faye from French to English.
Where are the bright colors
The streets are empty hallways
The city's vertical
I'm breaking my neck
In my spiral notebook
I write, poorly inspired
I wanna flee the gunfire
For the beaches of Nosy Be
I look at the skyline
The reflections in the river
Next time, fire
Me, I grew up in the mess
Still the rage inside me
Like when I was fifteen
Since then, water's flowed
Facing Queensbridge
Fists in my pockets
Head under the hood
My brain's grinding
My rhymes in the satchel
This city's like a fruit
A crazy dare, a flick
And my ego seems to leak
Through its smoking manholes
I loop my bootlegs
C'mon buddy, pass the bottle
I loop my bootlegs
And in the night drifts
A bit of Wu-Tang
And in this NYC city
Sitting in the back of a taxi
All these skyscrapers, a treetop forest
All these lights to infinity
Rise from threatening abysses
Like billions of galaxies
A Midnight Baron drives me
Toward this thickening night
The chill of autopsy rooms
The comfort of quiet suburbs
A homeless guy pushing his cart
The alleys of Little Italy
A body beaten by the cops
A sleep that's cousin to death
This city never rests
Suddenly bursts from my pen
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SONG MEANING

Gaël Faye’s “NYC” is a love-hate postcard written in rapid-fire verses. He steps into New York as a wide-eyed outsider, craning his neck at endless skyscrapers while scribbling rhymes in a battered spiral notebook. The city glitters like “billions of galaxies,” yet its steam vents, sirens, and relentless pace eat away at his ego. Hip-hop ghosts hover in the air—Wu-Tang, Queensbridge—reminding him why he made the pilgrimage in the first place. Still, every neon thrill is shadowed by gunfire flashes, police batons, and homeless carts. One minute he’s marveling at Little Italy, the next he’s daydreaming of Madagascan beaches where the water, not concrete, stretches to the horizon.

The song captures New York as a dizzying contradiction: a vertical playground for ambition and a labyrinth of human struggle. Faye filters this duality through his own history of chaos and teenage rage, turning the taxi ride into a moving cinema reel of contrasts—comfort versus autopsy-room cold, cosmopolitan shine versus street-level despair. In the end, “NYC” isn’t just about a city; it’s about the tug-of-war between escape and attraction, between the poet’s restless past and the magnetic promise of new stories waiting at every steaming manhole cover.

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