[Intro — immediate slow nocturnal groove, only two bars; rounded bass, soft dry kick, brushed snare, warm Wurlitzer chords and one sparse muted-guitar figure; no atmospheric buildup, no choir] [Verse 1 — fully sung natural male baritone, close-mic and recognizably human; low-middle register, simple recurring melody, long relaxed vowels, no vocal display] Same street, same shop, same hour, same four faces in the line. Somebody looks up at me and I check the time. [Pre-Chorus — melody rises slightly, bass keeps moving underneath; vocal remains intimate and controlled, no backing vocals] There's no one left to hide from. I hide anyway. No one's making me do this. And I look away. [Chorus — melody opens wider and becomes immediately memorable; fuller bass and drums, warm Wurlitzer and restrained guitar answers; SOLO lead vocal only, absolutely no choir yet] So how do I find you, and how do you find me, if we both look away the one second we could see? [Verse 2 — return to the same melodic grid as Verse 1; slightly warmer harmonic movement, still restrained and fully sung] A little more grey this year. And honestly, I don't mind. They ask what I'm waiting for like it's mine to find. [Pre-Chorus 2 — arrangement narrows; let the final line land alone, with a brief instrumental space after “first”; no backing vocals] Whoever trained me is gone. I hide anyway. No one's making me do this. I look away first. [Chorus — same established chorus melody, marginally fuller instrumentation but still SOLO lead vocal; no choir] So how do I find you, and how do you find me, if we both look away the one second we could see? [Bridge — fully sung, never spoken; reduce drums to soft kick and brushed pulse, keep bass and Wurlitzer moving underneath; each line gets a clear melodic phrase; do not rush the short final lines; sustain “met,” “did,” and “looked” naturally] I'm not afraid of getting old. I don't mind the years. I'm afraid we'll never know we met — that we already did, and neither of us looked. [Final Chorus — first and only entrance of the male choir; lead baritone remains clearly in front; warm small male ensemble enters behind him with soft sustained harmony and restrained answers, human and intimate rather than gospel; emotional widening without becoming triumphant] So how do I find you, and how do you find me, if we both look away the one second we could see? [Outro — choir disappears completely; return to almost the intimacy of Verse 1, bass and Wurlitzer gradually thinning, lead vocal alone; no melodramatic slowdown] Somebody looked up today. I counted one, two, three. Nothing happened after that. Nothing has to. Now we know we met. [Ending — one short warm instrumental response after “met”; clean unresolved stop, no fade]
