A brief opening clears into the steady acoustic pocket that will govern the track. The voice has not yet entered; the form first sets its carried time and modest weight.

The first verse enters with travel, distance, and shared history. Its eight lines move from road-work imagery into dependence and direction, preparing the first plain statement of commitment rather than breaking the musical pattern to announce it.

The chorus arrives on So I’ll love you ’til my lungs give out, then fixes the title phrase: I’m all your’n and you’re all mine. The shorter answering lines, There ain’t two ways around it and There ain’t no tryin’ ’bout it, make the hook feel settled. After the vocal cadence, an instrumental turn carries the same contract forward before the next verse.

The second verse returns without changing the basic form, shifting the lyric into appetite, rooms, and absence. At 2:04 the chorus comes back almost as proof that the refrain can absorb the new images and still land on the same possession-and-devotion formula.

A short instrumental interlude holds off the next vocal entrance. It is not a rupture; it functions as a reset between the completed second chorus and the enlarged final refrain.

The final chorus begins again at So I’ll love you ’til my lungs give out, then repeats the title line and the two-way/no-trying couplet. The repetition matters formally: the song stops advancing verse material and lets the refrain do the closing work. After the last sung title phrase, the arrangement eases toward decay; around 3:30 the pattern loosens, and the recording falls into terminal silence by the end.