Everybody’s got their differences too bad here’s a circumstance in which the stakes are high everybody’s got their secrets out so sad go around the room and see who doesn’t cry Soon enough you’ll be free to write it off you don’t know enough to call a bluff and the one who does will never ever tell

I became friendly with [a] bass player. . . .
He told me about this place called the Berklee College of Music, and said that you didn’t have to audition. . . . They had a summer session you could attend; that was “Come one, come all.” So I went there and it opened a lot of doors for me. First of all, the ear training — to work on your ear and learn to hear things you’d heretofore not been able to ascertain, individual instruments, chords and where they went, and remember melodies better . . . I’d just thought, either you could do it or you couldn’t. That plus learning about chord progressions and music theory, and which chords sound good going into other chords . . . that was really a revelation. . . .

So I started applying that to writing songs.
Which were all terrible. But you do it enough, and you get better at it.

Though you pay for the hands they're shaking The speeches and the mistakes they're making As they struggle with the undertaking Of simple thought What you want, you don't know You're with stupid now What you know, you don't want to know You're with stupid now.