Dreamboy (Unfinished)
Lil Nas X · DREAMBOY (UNFINISHED)
I would like for you to grab a glass of wine
And let me talk to you for a minute
Look
I was scared then, ain't scared now
Weren't ready then, but I'm ready now
Yeah, I'm on the way, yeah, I'm on the rise
On the way, yeah, I'm on the rise
Mind your business, I'm mindin' mine
Mind your business, I'm mindin' mine
Mind your business, I'm mindin' mine
Alright, okay, shit, let's talk infatuations
I like long black dick and I like long conversations
I like cuddlin' with my cats and I like boys who have a smell to 'em
Controversy king, yeah, I love to raise hell to 'em
Can't show me mercy, y'all hate I don't deserve it
I heard the shit y'all say about me when y'all in 'em churches
Y'all stanky booty bitches take my fun and make it misery
Hey, hey, hey, bitch, I'm still making history
Okay, I'm global, I'm back to taking over
This shit is gon' get scary like the ending of October
I told you that I told you long ago up on the roads
That I got just what they wanted in
Boy, I'm blessed, I'm born to win
I'm shittin' on niggas, like scat porn
I'm the one they turned they back on
Got fans in Brazil, I'm that known
Fell off for a minute, now I'm back on
I just do what I want, I don't care what they like
Say it with me, nigga (Bitch, I'm back like J. Christ)
Dream on, when the going get tough
Dream on, when it all gets rough
Dream on (Dream on), dream on (Dream on)
Dream on (Dream on), dream on (Dream on)
Dream on, dream on
Dream on, dream on
Dream on (Dream on), dream on (Dream on)
Dream on, dream, dream
I can ice my wristwatch out like I'm DLo
Walk into the party, everybody be like, "There he goes"
Baby, I'm a boss (I'm a boss), I'm a CEO
Baby, I'm that nigga, I'm that boy, I'm that negro
Ha, I just put my neck on bling-blaow, like I'm DLo
I just put my daddy in a house, I am Diego
Baby, I'm a boss (I'm a boss), I'm a CEO
Niggas keep on wishin' I might fall, tell 'em, "Dream on"
Dream on, when the going get tough
Dream on, when it all gets rough
Dream on (Dream on), dream on (Dream on)
Dream on (Dream on), dream on (Dream on)
Dream on, dream on
Dream on, dream on
Dream on (Dream on), dream on (Dream on)
Dream on (Dream on), dream, dream, dream
I'm your freaky, freaky, freaky, freaky fantasy (Dream boy)
I'm the nigga that they came to see
I'm on Nasarati road, made a lane for me
Fifty million records sold, I am playin' for keeps
Lil' nigga, you ain't seen the same fame as me
Lil' boy, you ain't faced the same pain as me
You ain't that, you ain't hot, you ain't trim like him
You ain't me, bitch, you just like them
Now, can I get a D (D)
R (R), E-A (E-A)
M (You can get an M, dream)
D (D), R (R), E-A (E-A)
M (You can get an M, dream)
Go dream, go, go dream
Fuck it up, dream, fuck it up, dream
Ah-ah-ah, go dream, go, go, dream
Fuck it up, dream, fuck it up, dream
Ah-ah-ah, dream ain't got no drawers on
Yeah, got no drawers on
Dream ain't got no drawers on
Ain't got no drawers on
(You in Dreamworld and you listenin' to "DREAMBOY")
Dreamboy (Unfinished)
The “unfinished” label matters to this version of “Dreamboy”: the song arrives less like a polished statement than a note from the middle of an argument with the world. Lil Nas X begins by announcing that fear no longer has the final say, then pivots into a deliberately provocative inventory of desire, ordinary comforts and public judgment. The quick tonal shifts—self-mythology beside domestic affection, bravado beside the memory of being condemned—make the voice feel restless rather than carefully resolved. Its unfinishedness becomes part of the listening experience: we hear a persona still deciding how much of itself to reveal.
The lyric’s most compelling tension is between attention and privacy. The speaker insists that other people should mind their business, even as he addresses an audience directly and courts controversy with theatrical relish. That contradiction is not necessarily a flaw; it is the subject. Public visibility can be a source of power and a kind of exposure, especially when the crowd claims moral authority over an artist’s private life. The song pushes that dynamic into caricature, using provocation to seize control of the terms of the conversation.
The available listing calls the track “Unfinished,” and the search did not surface reliable independent reporting establishing a completed release or its production history. It would be misleading to treat it as a definitive final version or attach a reception narrative without stronger evidence. As heard here, the fragment’s value is precisely its provisional energy: a restless, funny, confrontational sketch of someone reclaiming the right to be complicated before the audience has finished deciding what it wants him to be.