From the album Perverts
This is a song about someone who can't stop reaching for God even after being told they've already been thrown out. The hymn asks to get closer through suffering while the refrain insists Heaven did the leaving, which means the speaker is begging for proximity to something that supposedly already walked away. That contradiction is the whole song: she knows she's forsaken but keeps singing 'nearer to Thee' anyway, turning condemnation into worship.
E'en though it be a cross that raiseth me / Still all my song shall be nearer, my God, to Thee
The hymn treats suffering as the path to God, which sets up a logic where being forsaken might actually bring you closer. She's not asking to be forgiven or saved, just nearer, which means she wants intimacy with the thing that rejected her.
Heaven has forsaken the masturbator / No one you know is a good person
The shift from hymn to accusation happens without transition, like the judgment interrupts the prayer mid-thought. The line about good people universalizes the condemnation so completely it stops meaning anything, which might be the point: if everyone's forsaken, then no one specifically is.
Fast, reckless driving often leads to slow, sad music
This is the only concrete image in the whole song and it reads like a threat disguised as advice. It connects speed and recklessness to aftermath and grief, but doesn't say whose music or whose crash, so it floats there as a warning that applies to everyone and no one.
Heaven / Heaven / Heaven / Heaven has forsaken the masturbator
Saying 'Heaven' four times in a row before the accusation turns the word into a chant, not a location. It stops being a place you get closer to and becomes the sound of obsession, something she can't stop saying even though it doesn't want her.
It's happening to everybody
After all the condemnation, this lands like resignation or maybe relief. If the forsaking is universal then it's not personal, which means she's not uniquely ruined, just part of the general collapse. I'm not sure if that's comfort or despair.
The song never resolves whether she's been forsaken or whether she's the one doing the forsaking by refusing to stop reaching. The hymn and the condemnation loop into each other until you can't tell which one is the prayer and which one is the punishment. What sticks is that she keeps singing 'nearer to Thee' even after being told to leave, which means the rejection didn't work.