Chords for Kano - P's and Q's (Official Music Video)
Tempo:
93.35 bpm
Chords used:
F#
C#m
C#
A
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D] [F#]
[C#m] [F#] [C#m]
[F#] Some manners don't like me, they try and [C#m] badmime me when Kano [A] comes to town.
[F#] All I say is, mine's right and they leave the limelight when [A] Kano comes around.
[F#] Some tracks screw [C#m] me or even see me, but it don't work, cause the crowd don't hear me.
[F#] You ain't a true G, I'm too [C#m] deep, how can Kano stay [A] on the ground?
[F#] I ain't like most that roll around, [C#m] and kicked off, I hold it down.
But we're still gullied, the only proper rule from us is,
Pop, pop, pop them [F#] out, act up and get [C#m] bucks in the mouth.
Cause, you're just playing [F#m] a gangster, you been never weighed [C#m] out,
you been [A] never hit no blots in your [F#] mouth.
You been got love in north, west and south, and I'm a east bow.
You're [F#] a chief boy, I'm finna shit where you startin' to cruise.
Boy, girls [A] like me, but I [F#] ain't a sweet boy.
So boy, don't think you can move [C#] to me, you'll think I'll be your [F#] sleep boy.
Cause I'm on my Ps and Qs, [C#m] that's why I make more Ps than [F#] Qs.
Even when I'm in twos and twos, slip, [A] there ain't no [F#m] reason to.
[C#] Slippin', if there ain't no blitz between the chick, that's slippin'.
No hook, out the manna, linkin' chicks, [F#m] that's slippin'.
That's slippin'.
[F#] If you see me and I ain't with my crew, we'll leave them on [A] my Ps and Qs.
[F#] Even on my own two, that's the difference [C#m] between me and you.
[F#] If you see me and I ain't with [C#] my crew, we'll leave them on my [C#m] Ps and [F#] Qs.
Even on my own two, that's the difference between [A] me and you.
I hate losing, so I go snoozing, from London to Luton, I'm [F#] moving.
I'm even mergin' overseas, and I got [C#] a lot from London [F#] to Leeds.
Please, from time you heard me shine, then I'm big from London to Merseyside.
You got lines, but you spit like Mercy rhymes, this [D] year's gotta be mine.
I'm the first in line, wow, you got the first rewind.
But the second line [C#] sounded like the [F#] first line.
I ain't got punchlines, I got titlines, and I ain't [C#m] commercial, but I got [F#] hitlines.
I spit deep lines, but I got [G#] the girls on my side from the first [F#] rewind.
You might see my face in a magazine, or in a fur coat in Face magazine.
Cause they're spreading the word [C#m] out for rules that I've been in.
They're bringing the curse out to feed for my team.
I couldn't give a sh**, I'll break in the scene, make it a scene, and start making [F#] the cream.
See, I got [C#m] a friend with me, and when you [A] walk with a [F#] gangster lean,
you're all talk, you [C#] don't wanna work with me.
There's [C#m] no jokes or no pranks with me.
If you see me in [C#] a gang with my crew, believe I'm [E] on my Ps and Qs.
[F#] Even on my own too, that's the difference between [A] me and [F#] you.
If you see me in a gang [C#] with my crew, believe I'm on [A] my Ps and Qs.
Even on my own [C#] too, that's the difference between me and you.
[F#] If you see me in a gang with my crew, believe I'm on my [C#] Ps and [F#] Qs.
In sneaks or [C#] shoes, but in a Honda, get [C#m] no Jeeps and Coupes.
[F#] We'll chief your crew, we're so hungry [E] we'll teeth your food.
So mind out before you find out who you're [E] speaking [F#] to.
I speak to [C#] you on a level and speak the truth.
So please, [G#] that's far from me, but there ain't no me in you.
[F#] And please, you [C#m] ain't bossing one let alone [A] squeezing two.
[F#] Say cheese, [C#m] but you won't be the snapshot pull [A] out and try and hit like the [F#] jackpot leave.
I ain't waiting around, [D] baiting the town folk until they [F#] found that slipping.
If the rain of blitz [C#m] between the [F#] clips, that's slipping.
No whip out the [C#] manor, linking chicks, [F#] that's slipping.
That's slipping.
If you see me in a gang with my crew, believe [C#m] I'm on my Ps and [F#] Qs.
Even on my own [C#m] jeans, that's the difference between me and you.
If you see me in a gang with my crew, believe I'm on my Ps and Qs.
[F#] Even on my own jeans, that's the difference between [A] me and [C#] you.
[F#] [C#] [F#]
[C#] [F#] [C#]
[E]
[C#m] [F#] [C#m]
[F#] Some manners don't like me, they try and [C#m] badmime me when Kano [A] comes to town.
[F#] All I say is, mine's right and they leave the limelight when [A] Kano comes around.
[F#] Some tracks screw [C#m] me or even see me, but it don't work, cause the crowd don't hear me.
[F#] You ain't a true G, I'm too [C#m] deep, how can Kano stay [A] on the ground?
[F#] I ain't like most that roll around, [C#m] and kicked off, I hold it down.
But we're still gullied, the only proper rule from us is,
Pop, pop, pop them [F#] out, act up and get [C#m] bucks in the mouth.
Cause, you're just playing [F#m] a gangster, you been never weighed [C#m] out,
you been [A] never hit no blots in your [F#] mouth.
You been got love in north, west and south, and I'm a east bow.
You're [F#] a chief boy, I'm finna shit where you startin' to cruise.
Boy, girls [A] like me, but I [F#] ain't a sweet boy.
So boy, don't think you can move [C#] to me, you'll think I'll be your [F#] sleep boy.
Cause I'm on my Ps and Qs, [C#m] that's why I make more Ps than [F#] Qs.
Even when I'm in twos and twos, slip, [A] there ain't no [F#m] reason to.
[C#] Slippin', if there ain't no blitz between the chick, that's slippin'.
No hook, out the manna, linkin' chicks, [F#m] that's slippin'.
That's slippin'.
[F#] If you see me and I ain't with my crew, we'll leave them on [A] my Ps and Qs.
[F#] Even on my own two, that's the difference [C#m] between me and you.
[F#] If you see me and I ain't with [C#] my crew, we'll leave them on my [C#m] Ps and [F#] Qs.
Even on my own two, that's the difference between [A] me and you.
I hate losing, so I go snoozing, from London to Luton, I'm [F#] moving.
I'm even mergin' overseas, and I got [C#] a lot from London [F#] to Leeds.
Please, from time you heard me shine, then I'm big from London to Merseyside.
You got lines, but you spit like Mercy rhymes, this [D] year's gotta be mine.
I'm the first in line, wow, you got the first rewind.
But the second line [C#] sounded like the [F#] first line.
I ain't got punchlines, I got titlines, and I ain't [C#m] commercial, but I got [F#] hitlines.
I spit deep lines, but I got [G#] the girls on my side from the first [F#] rewind.
You might see my face in a magazine, or in a fur coat in Face magazine.
Cause they're spreading the word [C#m] out for rules that I've been in.
They're bringing the curse out to feed for my team.
I couldn't give a sh**, I'll break in the scene, make it a scene, and start making [F#] the cream.
See, I got [C#m] a friend with me, and when you [A] walk with a [F#] gangster lean,
you're all talk, you [C#] don't wanna work with me.
There's [C#m] no jokes or no pranks with me.
If you see me in [C#] a gang with my crew, believe I'm [E] on my Ps and Qs.
[F#] Even on my own too, that's the difference between [A] me and [F#] you.
If you see me in a gang [C#] with my crew, believe I'm on [A] my Ps and Qs.
Even on my own [C#] too, that's the difference between me and you.
[F#] If you see me in a gang with my crew, believe I'm on my [C#] Ps and [F#] Qs.
In sneaks or [C#] shoes, but in a Honda, get [C#m] no Jeeps and Coupes.
[F#] We'll chief your crew, we're so hungry [E] we'll teeth your food.
So mind out before you find out who you're [E] speaking [F#] to.
I speak to [C#] you on a level and speak the truth.
So please, [G#] that's far from me, but there ain't no me in you.
[F#] And please, you [C#m] ain't bossing one let alone [A] squeezing two.
[F#] Say cheese, [C#m] but you won't be the snapshot pull [A] out and try and hit like the [F#] jackpot leave.
I ain't waiting around, [D] baiting the town folk until they [F#] found that slipping.
If the rain of blitz [C#m] between the [F#] clips, that's slipping.
No whip out the [C#] manor, linking chicks, [F#] that's slipping.
That's slipping.
If you see me in a gang with my crew, believe [C#m] I'm on my Ps and [F#] Qs.
Even on my own [C#m] jeans, that's the difference between me and you.
If you see me in a gang with my crew, believe I'm on my Ps and Qs.
[F#] Even on my own jeans, that's the difference between [A] me and [C#] you.
[F#] [C#] [F#]
[C#] [F#] [C#]
[E]
Key:
F#
C#m
C#
A
E
F#
C#m
C#
_ _ _ [D] _ _ [F#] _ _ _
_ [C#m] _ [F#] _ _ _ _ [C#m] _ _
[F#] _ _ _ Some manners don't like me, they try and [C#m] badmime me when Kano [A] comes to town.
[F#] All I say is, mine's right and they leave the limelight when [A] Kano comes around.
[F#] Some tracks screw [C#m] me or even see me, but it don't work, cause the crowd don't hear me.
[F#] You ain't a true G, I'm too [C#m] deep, how can Kano stay [A] on the ground?
[F#] I ain't like most that roll around, [C#m] and kicked off, I hold it down.
But we're still gullied, the only proper rule from us is,
Pop, pop, pop them [F#] out, act up and get [C#m] bucks in the mouth.
Cause, you're just playing [F#m] a gangster, you been never weighed [C#m] out,
you been [A] never hit no blots in your [F#] mouth.
You been got love in north, west and south, and I'm a east bow.
You're [F#] a chief boy, I'm finna shit where you startin' to cruise.
Boy, girls [A] like me, but I [F#] ain't a sweet boy.
So boy, don't think you can move [C#] to me, you'll think I'll be your [F#] sleep boy.
Cause I'm on my Ps and Qs, [C#m] that's why I make more Ps than [F#] Qs.
Even when I'm in twos and twos, slip, [A] there ain't no [F#m] reason to.
[C#] Slippin', if there ain't no blitz between the chick, that's slippin'.
No hook, out the manna, linkin' chicks, [F#m] that's slippin'.
That's slippin'.
[F#] If you see me and I ain't with my crew, we'll leave them on [A] my Ps and Qs.
[F#] Even on my own two, that's the difference [C#m] between me and you.
[F#] If you see me and I ain't with [C#] my crew, we'll leave them on my [C#m] Ps and [F#] Qs.
Even on my own two, that's the difference between [A] me and you.
I hate losing, so I go snoozing, from London to Luton, I'm [F#] moving.
I'm even mergin' overseas, and I got [C#] a lot from London [F#] to Leeds.
Please, from time you heard me shine, then I'm big from London to Merseyside.
You got lines, but you spit like Mercy rhymes, this [D] year's gotta be mine.
I'm the first in line, wow, you got the first rewind.
But the second line [C#] sounded like the [F#] first line.
I ain't got punchlines, I got titlines, and I ain't [C#m] commercial, but I got [F#] hitlines.
I spit deep lines, but I got [G#] the girls on my side from the first [F#] rewind.
You might see my face in a magazine, or in a fur coat in Face magazine.
Cause they're spreading the word [C#m] out for rules that I've been in.
They're bringing the curse out to feed for my team.
I couldn't give a sh**, I'll break in the scene, make it a scene, and start making [F#] the cream.
See, I got [C#m] a friend with me, and when you [A] walk with a [F#] gangster lean,
you're all talk, you [C#] don't wanna work with me.
There's [C#m] no jokes or no pranks with me.
If you see me in [C#] a gang with my crew, believe I'm [E] on my Ps and Qs.
[F#] Even on my own too, that's the difference between [A] me and [F#] you.
If you see me in a gang [C#] with my crew, believe I'm on [A] my Ps and Qs.
Even on my own [C#] too, that's the difference between me and you.
[F#] If you see me in a gang with my crew, believe I'm on my [C#] Ps and [F#] Qs.
In sneaks or [C#] shoes, but in a Honda, get [C#m] no Jeeps and Coupes.
[F#] We'll chief your crew, we're so hungry [E] we'll teeth your food.
So mind out before you find out who you're [E] speaking [F#] to.
I speak to [C#] you on a level and speak the truth.
So please, [G#] that's far from me, but there ain't no me in you.
[F#] And please, you [C#m] ain't bossing one let alone [A] squeezing two.
[F#] Say cheese, [C#m] but you won't be the snapshot pull [A] out and try and hit like the [F#] jackpot leave.
I ain't waiting around, [D] baiting the town folk until they [F#] found that slipping.
If the rain of blitz [C#m] between the [F#] clips, that's slipping.
No whip out the [C#] manor, linking chicks, [F#] that's slipping.
That's slipping.
If you see me in a gang with my crew, believe [C#m] I'm on my Ps and [F#] Qs.
Even on my own [C#m] jeans, that's the difference between me and you.
If you see me in a gang with my crew, believe I'm on my Ps and Qs.
[F#] Even on my own jeans, that's the difference between [A] me and [C#] you.
[F#] _ _ _ [C#] _ _ _ [F#] _ _ _ _ _ _ _
_ [C#] _ [F#] _ _ _ _ [C#] _ _
[E] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [C#m] _ [F#] _ _ _ _ [C#m] _ _
[F#] _ _ _ Some manners don't like me, they try and [C#m] badmime me when Kano [A] comes to town.
[F#] All I say is, mine's right and they leave the limelight when [A] Kano comes around.
[F#] Some tracks screw [C#m] me or even see me, but it don't work, cause the crowd don't hear me.
[F#] You ain't a true G, I'm too [C#m] deep, how can Kano stay [A] on the ground?
[F#] I ain't like most that roll around, [C#m] and kicked off, I hold it down.
But we're still gullied, the only proper rule from us is,
Pop, pop, pop them [F#] out, act up and get [C#m] bucks in the mouth.
Cause, you're just playing [F#m] a gangster, you been never weighed [C#m] out,
you been [A] never hit no blots in your [F#] mouth.
You been got love in north, west and south, and I'm a east bow.
You're [F#] a chief boy, I'm finna shit where you startin' to cruise.
Boy, girls [A] like me, but I [F#] ain't a sweet boy.
So boy, don't think you can move [C#] to me, you'll think I'll be your [F#] sleep boy.
Cause I'm on my Ps and Qs, [C#m] that's why I make more Ps than [F#] Qs.
Even when I'm in twos and twos, slip, [A] there ain't no [F#m] reason to.
[C#] Slippin', if there ain't no blitz between the chick, that's slippin'.
No hook, out the manna, linkin' chicks, [F#m] that's slippin'.
That's slippin'.
[F#] If you see me and I ain't with my crew, we'll leave them on [A] my Ps and Qs.
[F#] Even on my own two, that's the difference [C#m] between me and you.
[F#] If you see me and I ain't with [C#] my crew, we'll leave them on my [C#m] Ps and [F#] Qs.
Even on my own two, that's the difference between [A] me and you.
I hate losing, so I go snoozing, from London to Luton, I'm [F#] moving.
I'm even mergin' overseas, and I got [C#] a lot from London [F#] to Leeds.
Please, from time you heard me shine, then I'm big from London to Merseyside.
You got lines, but you spit like Mercy rhymes, this [D] year's gotta be mine.
I'm the first in line, wow, you got the first rewind.
But the second line [C#] sounded like the [F#] first line.
I ain't got punchlines, I got titlines, and I ain't [C#m] commercial, but I got [F#] hitlines.
I spit deep lines, but I got [G#] the girls on my side from the first [F#] rewind.
You might see my face in a magazine, or in a fur coat in Face magazine.
Cause they're spreading the word [C#m] out for rules that I've been in.
They're bringing the curse out to feed for my team.
I couldn't give a sh**, I'll break in the scene, make it a scene, and start making [F#] the cream.
See, I got [C#m] a friend with me, and when you [A] walk with a [F#] gangster lean,
you're all talk, you [C#] don't wanna work with me.
There's [C#m] no jokes or no pranks with me.
If you see me in [C#] a gang with my crew, believe I'm [E] on my Ps and Qs.
[F#] Even on my own too, that's the difference between [A] me and [F#] you.
If you see me in a gang [C#] with my crew, believe I'm on [A] my Ps and Qs.
Even on my own [C#] too, that's the difference between me and you.
[F#] If you see me in a gang with my crew, believe I'm on my [C#] Ps and [F#] Qs.
In sneaks or [C#] shoes, but in a Honda, get [C#m] no Jeeps and Coupes.
[F#] We'll chief your crew, we're so hungry [E] we'll teeth your food.
So mind out before you find out who you're [E] speaking [F#] to.
I speak to [C#] you on a level and speak the truth.
So please, [G#] that's far from me, but there ain't no me in you.
[F#] And please, you [C#m] ain't bossing one let alone [A] squeezing two.
[F#] Say cheese, [C#m] but you won't be the snapshot pull [A] out and try and hit like the [F#] jackpot leave.
I ain't waiting around, [D] baiting the town folk until they [F#] found that slipping.
If the rain of blitz [C#m] between the [F#] clips, that's slipping.
No whip out the [C#] manor, linking chicks, [F#] that's slipping.
That's slipping.
If you see me in a gang with my crew, believe [C#m] I'm on my Ps and [F#] Qs.
Even on my own [C#m] jeans, that's the difference between me and you.
If you see me in a gang with my crew, believe I'm on my Ps and Qs.
[F#] Even on my own jeans, that's the difference between [A] me and [C#] you.
[F#] _ _ _ [C#] _ _ _ [F#] _ _ _ _ _ _ _
_ [C#] _ [F#] _ _ _ _ [C#] _ _
[E] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _