Chords for Jazz (We've Got)

[F#] We got the jazz, we got the jazz, we got the jazz, we got the jazz, we got the [D] jazz, we got the jazz, [C#] we got the jazz
[F#] Stern, firming, young with a laid back tongue, the aim is to succeed and achieve at 21 just like ringling lovers, our days in the sound, [D] capitulate the last [C#] as the pros is profound, [F#] do it for the strong, we do it for the blue
boom it in your, boom it in your, boom it in your Jeep or your Honda or your Beamer or your Legend or your Benz, the rave of the town to your foes and your friends, so push it along, trails we've laid, don't deserve the long, don't deserve the praise, the [D#m] tranquil and who will make you un-fall, your [D#] blissful, we put hip hop [C#m] on a brand new twist, [D#m] a brand new twist with my homie on the [F#] stick, so low key that you probably missed it, but yet it's so loud that it stands [D#m] in the cloud [D#] when the guy [F#] takes the beat, they bowed
So raise up, squire, adjust your attire, we have no time, so waddle in the mire, if you're on [D#m] a foreign path, then let me do the [D] lead, join in the essence [C#] of the cool out, [F#] the cool [D#m] out to the music, cause then it should feel serene with the birds in the breeze and all those movie things [F#] like getting stomach aches when you gotta go to work [D] or spirit into space [D#m] when you're feeling berserk, I don't really [F#] mind if it's over yet cause the job of reservists is to wake [D#m] up the dead, so pay attention, it's not hard to [G] decipher
and after the [C#m] horns, we can check out the [D#m] microphone.
_ _ _ [F#] _ _ _ _
_ _ [B] _ _ [D#] _ _ _
[F#] The competition, them type to come sideways.
The competition, them [D#m] must come straight.
Wait.
The competition, them type to come sideways.
[D#] The competition, them must come straight.
Wait.
[F#] How's about that?
It seem like it's my turn again.
All through the year, my mic has been my best friend.
I know some brothers wonder, can Piper really [D#] kick it?
Some even want to test this.
But why [F#] sweat it?
I'm all into my music because that's how I make hits.
Try to make hits like it could be mixed taste.
You sweat another, I do my own.
[D#] Strictly hardcore tracks, [C#] not a new jazz swing.
[F#] I grew up as a Christian, so today I give thanks.
Collect my bets, listen to Chabberettes.
I sing and rap.
I do all of [D#] it.
It's 1991 [C#] and I refuse to come [F#] back.
I take off my [D#m] hat to other crews and fans of mine,
but the low end theory's here.
It's time to wreck [F#] shop, I got chip and shop.
So whom shall I [Em] fear?
Stop looking [D#] and listen, but please don't [F#] stare.
Sit next to the store and buy the LP.
I got RCA, cassettes and CDs.
Produced and arranged by the four-man crew.
And oh shit, Skeff Anselm, he gets props too.
Make sure you have a system with some fat house.
So the new shit can rock from Boston, Massapequa.
Because where I come from, quality is job [D#] one.
And everybody up on [F#] it, you know we get the job done.
So peace to that crew, and peace to this crew.
Bring on the talk, we'll see you at a theater near or shoot.
Hey yo, but wait, back it up.
Easy, back [D] it up.
Please let the [C#] abstract embellish on [F#] the cut.
Back it, [D#m] move just like a cameo song.
If you dig this move, then please come dance along.
To the music, cause it's done, just roll the line.
Now I gotta scat and get mine.
Underline the jazz.
The one, [D#] the jazz move that ass,
called [A#m] the top origin is that feeling of disaster.
It's [D#m] a universal [F] sound, bless the bumpers on [D#] the ground.
And the one six [C#] below, you didn't have [F#] to go.
So say that I'm a saint, because I once had an orgy.
[A#m] And sometimes for breakfast I eat bits and porgies.
If this is a sinca, then call me a sinca, [B] ask.
[C#] Now check [F#] it, all my peoples [D#m] in Queens, you don't stop.
Now all my peoples in Brooklyn, you don't stop.
And all my peoples uptown, you don't [D#] stop.
That includes the Bronx [C#] and Harlem, you don't [F#] stop.
Now to that girl, Ramel, you don't stop.
I said because [D#m] ladies first, you don't stop.
And to the JV's, you don't [Em] stop.
And De La Soul, you [C#] don't [F#] stop.
And to my brand new BNs, you don't stop.
And to my leaders of the new, you don't stop.
And to my man, Lodge Professor, you don't [D] stop.
Beat Rock for [C#] the feet, you don't [F#] stop.
Everybody in the place, you don't stop.
You keep it on to the rhythm, you don't stop.
And last but not least, on the short [D#] shot,
this is [A] Zulu [C#] Nation.