“I’m sor ry, I’m here for some one else, but it’s good to see your face, and I real ly hope you’re do ing well. I hope you’re do ing well.” (Here we go.) (One, two, one, two, three.) She was run ning late for din ner, south (A)side of town. Left the (G)phone a lit tle bit ter, but it’s cool for now. Far from (D)per fect for each oth er, but we’re (A)work ing it out, I sup pose (I sup pose). Now I’m wait ing at the din er, look ing (A)trau ma tized, ’cause you (G)walk up to the ta ble with an or der of fries, and I know ya. Yes, I know ya. Used to love you. And I said, “I’m sor ry, I’m here for some one else. It’s good to see your face, and I real ly hope you’re do ing well. I hope you’re do ing well. I’m sor ry, I’m here for some one else. I wish that I could stay and talk at the bar all by our selves, but I’m here for some one else.” When she (D)fi n’lly walks in to the (A)res tau rant, hate to (G)say it, but I knew it, I was al read y gone. “Oh Ben ny, don’t do it. You’re (A)break ing her heart. Ben ny, don’t do it. Ben ny, don’t do it.” But (D)I (A)need to (G)go. It’s (D)not (A)per so nal when I say, “I’m sor ry, I’m here for some one else. It’s good to see your face, and I real ly hope you’re do ing well. I hope you’re do ing well. I’m sor ry, I’m here for some one else. I know you wish that I could stay and talk at the bar all by our selves, but I’m here for some one else.” I’m still in love with you. I’m go ing out of my mind. I, I, I, I, could n’t take it an y more. I was al read y run ning for the kitch en doors. You were al ways the one I should have wait ed for. I can’t lose you a gain, not a gain, not a gain, not a gain.