TOO MANY
Asster · ALL DAY FRESH
[Asster:]
Za mnĂ„Â... stoi caĂ...‚y hood (Hood), zamawiam zĂ...‚oto i hajs (Hajs)
KaÄ‚...ÂĽdy juÄ‚...ÂĽ poczuÄ‚...‚ ten gÄ‚...‚ód, za duÄ‚...ÂĽo suk nie wiem, którĂ„Â... mam brać (Huuu)
Za mnĂ„Â... stoi caĂ...‚y hood (Hood), zamawiam zĂ...‚oto i hajs (Haaa)
KaÄ‚...ÂĽdy juÄ‚...ÂĽ poczuÄ‚...‚ ten gÄ‚...‚ód (Huuu), za duÄ‚...ÂĽo suk nie wiem, którĂ„Â... mam brać
Too many, too many, too many hoes
Too many, too many, too many haaa, hahahaha!
Nie wiem, którĂ„Â... mam brać
Too many, too many, too many hoes
Too many, too many, too many haaa, hahahaha!
Nie wiem, którĂ„Â... mam brać
Zbieram stack â€Â" Minecraft
Biorę tylko takie co my type
Kopię cię w gĂ...‚owę, jak muay thai
To od designer, cloud's, nice stuff
Nawet nie liczę, nad iloma sukami wisiaĂ...‚ mój Ă...‚aĂ...„cuch, zaraz kupię nowy HAY
Nawet nie liczę, ile wydaĂ...‚em na to hajsu, zaraz robię razy dwa
One nie wiedzĂ„Â..., co to znaczy, chwytać za cel (Chwytać za cel, ej)
Energii w sobie mam, jak jebany Duracell (Jak jebany Duracell)
Prowodyrem byÄ‚...‚em tego, Ä‚...ÂĽeby wkurwiać je
Hahaha, god damn!
Mnie nie podrobisz, tu chodzi o swag, yeah
One nie wiedzĂ„Â..., co to znaczy, chwytać za cel (Chwytać za cel, nie)
Energii w sobie mam, jak jebany Duracell (Duracell, yeah)
Prowodyrem byÄ‚...‚em tego, Ä‚...ÂĽeby wkurwiać je (Wkurwiać się, yeah)
(Yhahaha, it's Fantom) Mnie nie podrobisz, tu chodzi o swag (Tu chodzi o swag, yeah)
Za mnĂ„Â... stoi caĂ...‚y hood (Hood), zamawiam zĂ...‚oto i hajs (Hajs)
KaÄ‚...ÂĽdy juÄ‚...ÂĽ poczuÄ‚...‚ ten gÄ‚...‚ód, za duÄ‚...ÂĽo suk nie wiem, którĂ„Â... mam brać (Huuu)
Za mnĂ„Â... stoi caĂ...‚y hood (Hood), zamawiam zĂ...‚oto i hajs (Haaa)
KaÄ‚...ÂĽdy juÄ‚...ÂĽ poczuÄ‚...‚ ten gÄ‚...‚ód (Huuu), za duÄ‚...ÂĽo suk nie wiem, którĂ„Â... mam brać
Too many, too many, too many hoes
Too many, too many, too many haaa, hahahaha!
Nie wiem, którĂ„Â... mam brać
Too many, too many, too many hoes
Too many, too many, too many haaa, hahahaha!
Nie wiem, którĂ„Â... mam brać
[MĂ...‚ody West:]
Too many, too many, banknotów wpĂ...‚ywa na konto, ej
Praca, praca, praca â€Â" nie mówię Rihanna (Rihanna)
Za duĂ...¼o dziwek stoi w korku, do mojej chaty, ta chata to Tijuana
Chcemy jeĂ...›Ä‡, ale nie mówię enchillada, sorry nie jemy Ă...›wini jak w Emiratach
OG nazwaÄ‚...‚by to aprobata, wiesz, Ä‚...ÂĽe flipuje mój stack jak akrobata
Jestem UP! UP!, nigdy nie zwolnię, znowu w S-Class, maĂ...‚a bez class
Nie sĂ...‚yszę hajsu, brzmię jak bezsens, nigdy maĂ...‚o, chcemy więcej
ByĂ...‚em w kuchni, byĂ...‚em na ulicach
Wszystko dla zachowaÄ‚...„, wciĂ„Â...Ä‚...ÂĽ mam czyste ręce
Jak mam niby dziwce oddać serce?
Jestem innym typem â€Â" wybraĂ...‚em inne miejsce
[Asster:]
Za mnĂ„Â... stoi caĂ...‚y hood (Hood), zamawiam zĂ...‚oto i hajs (Hajs)
KaÄ‚...ÂĽdy juÄ‚...ÂĽ poczuÄ‚...‚ ten gÄ‚...‚ód, za duÄ‚...ÂĽo suk nie wiem, którĂ„Â... mam brać
Za mnĂ„Â... stoi caĂ...‚y hood (Hood), zamawiam zĂ...‚oto i hajs (Haaa)
KaÄ‚...ÂĽdy juÄ‚...ÂĽ poczuÄ‚...‚ ten gÄ‚...‚ód, za duÄ‚...ÂĽo suk nie wiem, którĂ„Â... mam brać
Too many, too many, too many hoes
Too many, too many, too many haaa, hahahaha!
Nie wiem, którĂ„Â... mam brać
Too many, too many, too many hoes
Too many, too many, too many haaa, hahahaha!
Nie wiem, którĂ„Â... mam brać
Fantom
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Source/Credit: "TOO MANY" by Asster, from ALL DAY FRESH.
Changes: plain-text formatting normalized for Lyrics Iztok.
About TOO MANY
"TOO MANY" finds Asster in a pop-minded frame, where a clear central idea and emotional directness are the real strengths. The song works best when its main melodic and rhythmic ideas are allowed to speak plainly, without being crowded by unnecessary decoration. There is a welcome sense of proportion in the way the music presents itself: the hook has room to land, while the surrounding moments support it instead of competing for attention. That restraint gives the performance room to breathe and makes the emotional color feel earned rather than imposed. For listeners returning to Asster, the song offers a compact example of how mood, pacing, and a recognizable point of view can meet in one place. It is a track for focused listening, especially when the details around the main idea begin to reveal their own quiet pull. The clarity of that approach is its own strength, because it lets the feeling come through without turning every moment into a dramatic demand. Even when it aims for immediacy, the track avoids feeling disposable because its atmosphere remains distinct after the final note. Its emotional center stays firmly in view throughout.