Hey Stephen

“They're dimming the street lights, you're perfect for me”

The streetlights dim as the speaker decides Stephen is perfect for her, the public lights lowering as the private feeling rises. The dimming lamp sets the romantic scene rather than signalling anything.

“Can't help it if I wanna kiss you in the rain”

Rain heightens the romance of an impulse confession. Wanting the kiss to happen out in the weather rather than under shelter, the speaker reaches for rain as the condition that makes the gesture feel cinematic.

“Of all the girls tossing rocks at your window I'll be the one waiting there even when it's cold”

The window is where the competition is staged. Other girls throw rocks at it, and the speaker's claim is that she is the one still standing there when the weather turns.

“But would they write a song for you?”

The question is rhetorical and answers itself by being asked. The speaker concedes that her rivals are beautiful, names the one thing she can do that they cannot, and the proof is the track the listener is already partway through. What could have been a plea works as a quiet boast instead. Notice that the line does not claim the song is good, only that it exists and they did not write it.

Songwriting is offered as the speaker's advantage over prettier rivals, which turns unrequited longing into a form of confidence. Being overlooked is answered by a skill that cannot be overlooked.