"Make Believing You're Mine" is the longest song ever recorded by NNMaddox. It's also one of his favorite. Written and recorded in literally a 24 hour span, Maddox pours his heart and soul into an epic ballad about heartbreak and denial. Featuring Charles Dysan on both piano and guitar, this song drives into your heart like a knife, setting a tone for the entire album.
This song was only the second written for Long Island Baby and was a major departure from Maddox's previous work with The Abandoned Nutsack. Partially inspired by Lou Reed's "Street Hassle", part "Waterloo Sunset" by The Kinks, the opening track provides the most traditional rock n roll moment on the album.
"I wanted the opening track to be something epic, like 'Station to Station.' Sometimes when a song sits on the back burner for too long, the original emotion fades into the point where the song because simply a series of words anyone could have written. I knew this song was one I needed to act upon immediately. Dysan did an amazing job on guitar and piano and the middle portion (which I originally did not include). I could have made this into a pop rock song by doing two verses and two choruses. I had a little bit more to say than that though. I'm very proud of this track"-NNMaddox
What can’t kill me/Makes me stronger/Well you and I both know/That’s a lie/ When everybody/makes things so ugly/Sometimes it’s so hard to crack smile/ I’ll wait forever/But not much longer/Cause I know, I’ll go out of my mind/ But until then/I’ll be wasting my time/Make believing you’re mine
You shouldn’t leave/The night’s just begun/And I’d hate for you/To miss all the fun/But hey, I know you’ve got /More important things to do/But one of these days, honey/it’s gonna come back to haunt you/You can write a whole chapter on/ what “could have been” because/You spent all your time with what “never was”/ and hey, i’m not trying to bring you down/But sometimes even the best swimmers drown
Chorus
ThingsaresomucheasierinthisfantasylandyouliveinIt’slikeNewYork,Paris,London,and Japanbutwithouttheconsequences,right?well,ifyouwouldjustcometoyoursenses,youcouldj oinusallbackinrealitywherethingsarentaseasyandnothing’sforfreeIdontevenknowifIcan blameyou,youvegotthispersontellingyouthisandthatpersontellingyouthat,butthat’snot whereit’satandyouknowitandyouletitgettoyourhead,andIain’tdownwiththatLook,i’mthe firsttoadmitIfuckedupbypushingyouaway,andreally,whatIhavetosaynowisprobably meaninglesstoyou,becausei’vehadmydayandIfuckingblewit!butwhentheshitgetsrough, Idontthinkmrsoandsowiththegoldmedalorwhateverthefuckitisisgoingtositthereandlisten toyourproblemsandheyi’mnotknockingit,butuntilyou’vebeenthere,youneedtounderstand wherei’mcomingfromtooit’snotallaboutyouthistime.maybewhatdoesn’tkillmeismakingme stronger,butimnotsosureanymorethatit’snotactuallykillingme.I’dputourpictureinaframe, youknowtheonewithyourheadonmyshoulder?butIdon’twannafuckinlookatthat.It’shard enoughjustwakingupandbeingmyself.Andyouknowyouseeonewayofgettingout,andit’s likeanescape,youknow,youfollowit.thenitletsyoudownandyouwonderhowyougothere,and howyouendedupfuckingeverythingup.andyoublameitsomeoneelse.theygoaheadandfollow itwhatelsedoyouwantyo knowwhatit'scalled:badluck
Well the night’s not so young anymore/And I should face the facts/And even this glass of champagne ain’t bringing you back/This is just the beginning/No, this isn’t the end/And if nothing comes of this/We can always be friends/And things are damaged/So I’ll handle with care/But it’s nothing you and I cannot repair