you were the song that I'd always sing

I don’t mean to speak so collectively I know I don’t make it easy to even wanna hear it what can I say, what can I say, what can I say the more I recite it the more you wanna fight it the more my language is sounding fabricated

Using “I” statements is a classic communication tactic used when trying to appeal to an opposing, hostile, or defensive audience. The use of the word “collectively” brings to mind an intriguing duality, with it both relating to the generaliztions the singer is attempting to avoid as well as the concept of in-group dynamics addressed back in Passerine with “birds of a feather.”

The line “what can I say” is repeated, both creating the sense of a mental dialogue- struggling for a way to connect with the person the singer is speaking to- as well as relating to the next lines “the more I recite it, the more you wanna fight it.”

The concept of language being fabricated- and considering if the things we speak are true, especially if not everyone agrees on what is true, is brought to mind here. the theme echoes in the snow-white linens of Cold as well as the see-through paper pages of Glowing. (not to mention all of Rose). Even so, the singer only worries that their language will sound fabricated- they worry that the person they’re singing to will not believe them, or accuse them of parroting another’s words.

but if there’s one thing I know it’s either the growing is slow or it cuts to the bone moving too quickly

Themes of growth and pain from past albums and other songs are brought to mind here- both the progress of change in Grow from Eurus, and the cutting edge of the sickle from Rose. Overall, this verse illustrates how difficult it is to broach topics of issue with those who disagree- feeling like too much at once or no progress at all.

so I’ll keep half of my words in my mouth let the syllables fall out at a steady trickling I’ll be your roof caving in

The singer paints their attempts to reach out to their audience as “a steady trickling”- not the unstoppable force of change New River, but not nothing either- a resolute commitment to a staid task. Their description of holding words and syllables in your mouth brings to mind the concept of “sweetening” tones or “honeyed words,” but instead they parallel the effort with something much different and altogether delightfully new- a roof caving in. 

you don’t know what you don’t know yet

yeah, I go on forgetting it don’t you go on forgetting it, too

don’t you go on forgetting it

These lines serve as a representation of the dialogue the singer has with both themselves (chastising) as well as what they want to impart on the person they’re singing to- not necessarily the scolding tone they treat themselves with, but a sense of responsibility and self-driven duty to understand the world better.

I don’t mean to speak so intrusively I know I don’t make it easy to even wanna see it nothing old, nothing new

This verse mirrors the opening lines, with a change from “hear it” to “see it,” implying a tonal shift from a more appeal-based stance to one that’s more resigned, if that makes sense. Rather than debating over what the audience is willing to hear/approaching them on their terms, the singer speaks of “seeing something,” implying that rather than the issue being the singer’s inability to reach out properly, it is that their audience is unwilling/unable to simply look at/percieve what is already there. The combination of this with the word change of “collectively” to “intrusively” supports this progession of message theme, acknowledging that they’ve now switched their approach to a more active tone.

The last line “nothing old, nothing new” references the classic wedding tradition of wearing “something old, something new, something borrowed, and something blue.” The flipped first two phrases seem to connect to the line about not even “[wanting] to see it”- perhaps implying that the audience is ignoring both past and present evidence that they should change their perspective. Additionally, it brings to mind the second part of the phrase- “something borrowed and something blue.” These link back to the central concepts of the song, with “something borrowed” reflecting the singer’s realization that they need to understand the person they’re singing to in order for their message to actually connect with them. “Something blue” connects to the next part of the song, which I will discuss presently.

but if there’s two things I know it’s that the sky looked white and the water like wine when I first met you

but somewhere along the line Rayleigh scattered across my eye and I found her blue yeah, I found her blue

I’ve grouped this set of verses together because they combine into one statement and don’t really make sense as seperate verses. Here, the concept of “blue” is established as a metaphor for being able to understand or relate to another person’s persepctive or lived experience. The line Rayleigh scattered across my eye” refers to the Rayleigh scattering scientific principle, wherein certain types of glass and other translucent materials can appear blue from one side while showing orange or other colored light on the opposite side. See the image I added at the beginning for reference.

The description of “the sky look[ing] white and the water like wine” is a reference to the greek/roman era when they lacked a word for the color blue. This alludes to their perspective when they first met the person they’re addressing- they were unable to see blue, but more than that, they didn’t even have a way to describe it, the concept was foreign to them. However, they follow this up by saying that eventually, “Rayleigh scattered across [their] eye” allowing them to see the connection between what they saw and what the other person saw.

I must have found a new cone in my eye what other lapis lazuli was hiding behind my color blindness what did I miss, what did I miss, what did I miss

The singer continues describing their revelation, painting it as though they’d found a new cone in their eye- allowing them to percieve an entirely new spectrum of light/a new color in the world. They then fret over what other things they may have missed in their “blindness” or other forms of unawareness. While this last verse is seemingly reflective, when taken with the two that precede it, it seems that while the singer has taken this to not only to better their own understanding, but to use their moment of clarity to help their audience to do the same as they have, essentially telling the person they’re singing to- if I can do it, you can as well.