I don't want to hold you and feel so helpless I don't want to smell you and lose my senses And smile in slow motion With eyes in love. - Rufus Wainwright

When I first came up with the lines, I don't know what it is, but you got to do it/ I don't know where to go but you got to be there, I was at this party for The Strokes in New York. There was this prevailing sense of, 'We're not quite sure what's happening or what is cool, but we know that it's somewhere around here, in this room.' It was this vague confusion, with everybody kind of sniffing for blood. It wasn't that it was a bad party, or that I don't like The Strokes; I just think there's a lot of confusion right now in the music business. Then, later on, I realized the song was really personal. I didn't know where I was, and I didn't know I was actually lost. It wasn't about the party at all; it's about searching but not knowing what you're searching for. There's the train motif, being on this train heading for either oblivion or salvation – and just holding on for dear life. That song came down from some mountain somewhere, because it was right after I wrote it that I sort of packed it in.

Guess the world needs both sun
And the moon too
Sad with what I have except for you.

When I was very young I was Judy. On good days I was Dorothy, on bad days I was the Wicked Witch. The interesting thing about it, too, is that I’ve always related to it mainly because I don’t relate much to Frank Sinatra. I appreciate Frank, but there are so many Frank Sinatra imitators, whether it’s Harry Connick Jr. or Michael Bublé—the kind of guys who [Snaps his fingers in quick succession] basically want to get laid. And there’s nobody being the flip side of that, which is the hungry, lonely, desperate, crazy-person singer [Laughs]. So I wanted to pick up that mantle and try to be a little less cool.