I get it. You're thinking on the surface level. Like a lot of the misguided listeners, you're thinking, "If Pedro says something that comes across as clever or insightful, it's deep." But that's an extremely pre-modern way to look at art. The way he interacts with the audience, building and subverting metalyrical expectations, commenting on multiple metamusical, sociopolitical and personal subjects with single lines is just brilliant. What work has played jump rope with the line between irony and sincerity as effectively as Pedro's battle career? From the opening seconds of his KY battle, to the Umbro sign multisyllabics, to the hopscotch metaphors, no other work of any medium has worked with such an ambiguity of awareness of its context. I'm not saying Pedro is brilliant because he showcases great technical compositional proficiency or especially novel aesthetic innovations (though Lebanese Transformers and the London Zoo have never been fused so artfully into one battle round), I'm saying his ability to project outwardly from himself and work in a space so self-aware (yet somehow sometimes simultaneously ham-handedly solipsistic) that it shatters any post-post-modern dichotomy between affectation and sincerity sets it apart from other works of art. His entire lyrical methodicism skips back and forth over the "is this dude serious?" line, only for him to answer with a resounding "YO YO YO YO YO". Where the recent metamodernists have decided that continual sinusoidal oscillation between critical points of intense sincerity and irony is a valid solution to the nihilism inherent in extreme postmodernity, Pedro instead manipulates for the oscillation of the listener's perception rather than affecting a self-defeatingly earnest oscillation of himself. In this way, Pedro can be seen as a man of meta-metamodernism. To call him "ahead of his time" would be a vast understatement. He will be hailed as the greatest artist, not rapper, but artist, of the 21st century.