Everyone I've ever known has lived inside my heart and home
And I in theirs from time to time
The way I see things lately
Is that every story ever told
Is really one and very old
And tells the only tale I know
Good enough for singing
Now I know that it's just the dawn
That gets me going on like I can't stop winning
But I feel for once so for real
Like really quite a steal
Now I've heard a song that it worth singing
When I think about the whole wide world
Or what it takes to love a girl
Or carry out the best laid plans
The way I see things lately is that
Everyone in this whole world
Has loved a boy or loved a girl
And grown in life just like a pearl
Polished by it's history
We all know that it's dark and dawn
Time keeps moving on
Someday you'll be winning
Like that pearl that started off just sand
Became the prize of man
Much just like that song that is worth singing
The way I see things lately now I know
This song's the oldest of the lot and wasn't written in NYC and had been recorded probably better before. I think it might be a Buddhist song, of sorts. It's pretty much about how the world is one unending story of change and suffering, and the only path to some form of happiness is through letting go of as much as possible and accepting your status as another bit character in a story that doesn't have a plot, let alone a protagonist. The funny this is that I know the words say something very different, but i still think that the interpretation above is correct. It's how the song feels.
Anyway, I'd recorded this one years before, and it'd become my stepfather's favorite song that I'd written. He didn't like the quadruple layering I'd put on both the guitar and vocal on the original and asked for me to make him a "clean" version someday. Christmas was coming up, I was broke, and I thought a "clean" copy of the song would pass as a gift. Musicians are shitty people, by and large.
But simply having made this recording in the same sessions as the rest, which were meant as a document of my creations since having moved to Brooklyn, didn't mean it had to be on the record. But aside from serving as a document, this EP also was probably meant to act as proof that I was doing pretty much okay out here. I wanted to be able to bring this home and tell my people "I'm totally not falling apart", even though I was, and if I let this collection end with "Stuck On The Outside", I couldn't do that. Essentially, this was added for appearance's sake.
Again, Nate Jasensky's 12-string came in handy. It's a tender little song and really needed an airy, sweet quality to it. I think that the other recording that caps off the After Work EP is the superior recording, but I still might prefer this version.