[Intro — immediate warm cyclical groove; rounded bass begins first, joined by dry drums, rhythmic Wurlitzer, muted electric guitar and very subtle congas; no atmospheric buildup, no percussion-only opening] [Verse 1 — fully sung intimate adult male baritone; relaxed, lightly ironic delivery; clear recurring melody, unhurried but rhythmically precise; leave small instrumental answers between lines] I know the sound your keys make at the door. I know which side you sleep on, which drawer is yours. I knew none of it the night I said let's see. Yes to a stranger. God, that part was easy. [Pre-Chorus — bass becomes more active, piano harmony rises, percussion tightens; create the feeling that he is finally about to leave] Four times now. Coat on, every word rehearsed. Hand on the door. Four times, I've made it worse. [Chorus — broad memorable melody over a fuller organic groove; warm restrained backing vocals enter on selected phrases; attractive on the surface, quietly evasive underneath] We started with nothing. Now everything I own has your name. That's the reason I give. That's the reason I claim. We started with nothing — look what I'd have to leave. It sounds like love. And it's easy to believe. [Verse 2 — same melodic and rhythmic frame as Verse 1; slightly fuller drums and bass; everyday domestic warmth, no dramatic change] Last time you didn't look up from your plate. You said, close it behind you — don't be out too late. Not cruel. You'd seen the coat. You knew the show. I stood there long enough to prove I wouldn't go. [Pre-Chorus — arrangement narrows slightly; Wurlitzer, bass and dry drums remain; vocal close and matter-of-fact] Then I hung it back up, put the kettle on instead. Asked about your day. Like nothing had been said. [Chorus — return to the full groove; slightly richer backing harmonies, but still controlled and adult] We started with nothing. Now everything I own has your name. That's the reason I give. That's the reason I claim. We started with nothing — look what I'd have to leave. It sounds like love. And it's easy to believe. [Bridge — groove becomes leaner and less charming; bass, dry kick, sparse piano and muted guitar continue; fully sung, intimate and increasingly exposed; no theatrical build] I'm good at beginnings. No one's let down at the start. I've never been the reason anybody cried — I made a life of that. Call it an art. It isn't you I can't leave. It's the man who'd have to say it. I've kept him out of every room. And I'm not going to face him. [Final Chorus — arrangement opens again but does not become triumphant; the first half retains the established melody, then the final lines break the pattern and become more exposed] We started with nothing. Now everything I own has your name. That's the reason I gave. That's the reason I claimed. We started with nothing — and look, I'm still here. Not staying. Just not leaving. [Outro — groove continues quietly in the same unresolved cycle; vocal dry and close; after the final line, let the instruments repeat the pattern for two bars and stop cleanly] Close it behind you if you're going out. I never do.
