This song is written from the perspective of a CIA spy satellite, the operator of which has a crush on his spy subject, a girl who is mistreated by her "run-from man". She's running away from a bad guy, and the song is sung from the perspective of an emotionally invested spy watching it all happen from orbit. There's new information in verse 2, "They say that lettin' you out is why they're letting me go", implying that an even
richer back-story exists with another unknown. It seems to refer to a deal being made, where someone gets "let out" to "talk at night to (her) radio". Maybe the CIA is letting an old friend of hers out of prison to advise her over radio transmissions? This new information seems to change the singer from the owner of the spy satellite, to an ex-con they're consulting with. Maybe that's why the radio transmission effect on the vocal is so pronounced when those lyrics are sung: A new narrator interjected himself into the song at the end of verse 2.
But whether it's the owner of the spy-satellite, or the ex-con advising him, the big-brother watchful interest over this girl is at the heart of this song.

Production Notes:

This song as well as Lava Heart are the two song composed where acid files were used to compose the drum tracks. The guitar was all recorded direct into an old kidney Pod, with every knob on 10 with modern cabinet distortion. I doubled-tracked the guitars using different pick-up selectors and hard-panned them. The thickest sounding distortion was achieved by not using a pick, but rather softly scraping my
fingertip against the string, with distortion maxed, and played very softly. I learned that often times attack is the enemy of fuzz. Double-whole notes sound amazing with a fuzz box through a Marshall stack, but not so good on a yukele. But I digress.....