Matt Scannell describes this song as "very much a song, stylistically or lyrically, I think, that comes from a similar place as 'Everything You Want
' in terms of writing things a couple of steps back from the obvious. And I put a lot more clouds and mist into this song than something that was very clear and crisp and obvious. I've been trying to create characters more," says the lead singer, "because all my songs tend to be first person. And it's ironic that I would be talking about a song titled such as 'Save Me From Myself' as having elements of third person narrative in it. But the characters and the verses in it are an attempt for me to sort of illustrate these precarious situations. One of the things that's hard for me is I can see problems. I can see things inside of myself that are broken. I can see things inside of myself that are dangerous. I can see things inside of myself that desperately need help. And so I was trying to use characters in precarious situations to illustrate that jeopardy."
"I grew up going to Cape Cod in the summer, but the ocean has always been a big part of my life, and it's also a big part of my songwriting. And I think there's a real beauty to it, but there's such a danger to it. The sailors in the first verse, it's really knowing that, Man, that boat should be there. But they're out and the storm's coming, and if they're out in that, then they're not alive. Then they didn't make it. So I hope they're swimming. I hope they're trying to get through. And the little boy in the woods, it's the same kind of thing. And yet I'm just sort of sitting there looking at it. 'Seems to me I'm always miles away looking for my own face.' It's so detached, instead of doing the work, instead of going out there and finding them, I'm off thinking thoughts. So for me, instead of doing the work and trying to put the pieces back together and fix myself, I'm out there. For me, 'looking for my own face' was just really a lyric that means it's right in front of your eyes, and you can't see it."
"'Happy endings all around, and still they haunt me.' That's the classic thing. I aspire to be a glass-is-half-full guy, and I think largely I'm in a much better place towards being that guy, but by nature, I think, I'm someone who tends to see a lot of negatives."
"The reason I started writing songs, is I needed to get it out. And for me, the lyric and the chorus that I'm most proud of is, 'Save me from myself, I can't relate, we're mouth to mouth and still I suffocate.' It's like you have the beauty, you have the love, right in front of your face. It's almost the flip image for me of 'Everything You Want,' being on the outside on 'Everything You Want,' but here being on the inside in 'Save Me From Myself.' You've got that person who's there for you, who's breathing life into your body, and you're rejecting it. And whether that's coming from within or without is almost immaterial. And the second verse is in some ways more of the same. The key for me about that is it's all in my backyard. 'The bullet in the yard is slowly rusting, the bottle's cracked, the kid's come back, and I'm just looking.' It's my backyard, and it's all in disrepair and disarray, and there are dangerous things back there, and I'm just watching. The same thing with the relationship, 'The wine is on the floor, the candles flicker, your eyes fall and I'm appalled, it's all just cinder.' It's like, you could do something about it, but you don't. It's a really dark song. It's a really
dark song. And you know when I say I try to put some hope into songs? This is a pretty dark song. I don't want to. But sometimes, you know what? Sometimes it's dark outside. Sometimes it's very dark inside