Songfacts®:

• This is the closing track of Forever Endeavour, the 12th studio album by Canadian singer-songwriter Ron Sexsmith. Much of it deals with a health scare Sexsmith had after doctors discovered a lump in his throat in 2011. "During that period, I was in a bit of fog because you keep thinking about it," he told CBC Music. You're having a good time but your mind returns to it... You start to hear, you know."
  
  Fortunately the lump turned out to be benign.
• During several months of tests and checkups, Sexsmith was in a particularly reflective mood, fueling several of the songs he wrote for Forever Endeavour. This was the first one he wrote during his health scare. "I didn't want to write a downbeat song, but that's the big question," he told CBC Music. "All the people in our lives, do we ever get to see them again after we're gone? There's no answer for any of this."
  
  Sexsmith added: "You're always looking for a song that will start the record and end it, and this one seemed like a good one to end it on. I'm not saying it's a super happy song, but it was a nice sentiment to end on. How great it is to wake up in the morning and still be here. It's just a good song that completes the album."
• When Sexsmith ran into frequent collaborator Mitchell Froom - who had helmed the Canadian singer's first three albums and 2006's Time Being, he knew he had found his producer for Forever Endeavour. "I had thought about working with Bob but I did wonder if these were the right songs for his approach - it's very polished and it's big, the big drums, and very muscular sounding," said Sexsmith to The Toronto Sun. "But then I ran into Mitchell Froom in L.A. and he was telling me he was excited, he was really getting into orchestration. And I already thought, 'There's something about these songs that I felt were very like kind of classic singer-songwriter things.' And I was thinking of Neil Diamond and those sort of '70s records where there'd be like really warm-sounding guitars and strings and stuff."
• Regarding Froom's input on this song, Sexsmith told CBC Music: "I had the music before I had the lyrics, and it sounded like something you'd hear in a medieval castle or something, and so I thought it was cool that Mitchell had these woodwind arrangements. I felt I should be wearing a powdered wig or something."