"I Think I'm Paranoid" is a song written, performed and produced by Garbage and was the second single released from their second album Version 2.0. The song was released internationally in July 1998, following up on the success of the band's prior hit, "Push It". "I Think I'm Paranoid" reached the Top Ten on the UK Singles chart and Airplay charts, while across the Atlantic also becoming a hit on Billboard's Modern Rock Tracks chart. "I Think I'm Paranoid" became the biggest hit from Version 2.0 in Italy, where it featured on a 30-second advert campaign for Breil Watches and was placed in rotation by MTV Italy. In 2007, "I Think I'm Paranoid" was remastered and included on Garbage's greatest hits album Absolute Garbage. Composition and recording Garbage began writing their second album, which would go under the working title of Sad Alcoholic Clowns, in March 1997 in the band's label-head Jerry Moss's Friday Harbor, Washington, vacation house. The group demoed and made rough outlines for new songs, of which "Bend Me" was one. When they felt they had made a good start, Garbage took the work they made in Washington back to their Madison, Wisconsin base at Smart Studios and begin fleshing out the ideas and rough sketches over the following year. Garbage intended their second album to build upon the framework, music style and musical template laid down by their first release; to create a rapprochement between the "high-tech and low-down, the now sound and of golden memories" and wear musical references to the 1960s, 1970s and 1980s. Garbage recorded all of their work for the second album through a 48-track digital system digitally, direct to hard drives using a 24bit Pro Tools rig: the production of "Bend Me" would feature almost 120 audio tracks. Duke Erikson created the opening guitar riff and arranged the backing chords, over which Shirley Manson sang. Manson's vocal was manipulated in various parts of the song by running the feed to the mixing console through a filter or a stomp box to provide distortion and by using Pro Tools plug-ins to time-stretch the vocal take. Much of the percussion was recorded in a disused candy factory located in Madison; Butch Vig, Steve Marker and sound engineer Billy Bush set up a drum kit within the empty building and recorded various fills, using the favourable acoustics therein. Forced to stop after local police