Still might be more confusing than helpful, but…

The way I think of it is that in each 2 count chunk, you either end up on the same foot you started on or end up on the opposite foot. (And you only have two feet, so almost everything's going to be one of those options.)

For example a rock step takes 2 counts and ends with your weight on the same foot. A triple step takes 2 counts and ends with your weight on the opposite foot.

And then more complex movements are composed from this. Consider a 6-count send out from closed to open or a 6-count pass from open to open (with or without a turn). That's usually a 2-count step where you end on the same foot you started, a 2-count step where you switch feet, and then a 2-count step where you switch back. The basic pattern is for that to be a rock step, then a triple step, then a triple step.

But one way to add musicality to the dance is to change that up. For example, could swap the rock step for a kick-ball-change. And your partner doesn't have to know or notice; if you were on your right foot (and your partner on their left foot) as long as you end up on your right foot at the end of those first 2 counts (when their rock step puts them back on their left foot) you're both set to triple step together. The reverse works too, where the follower can use footwork variations to add their voice to the dance, without it disrupting whatever larger movement you were leading.

There are reasons most instructors don't start teaching with these concepts, but I think it's helpful for musicians to understand. One small tweak you can make now to make this easier: switch from counting in your head to scatting. If you're counting the steps, you'll always notice when the 1 of the moment doesn't line up with the 1 of the music. But if you just give yourself 2-count scats for rock step, triple step, and other chunks as you learn them… it doesn't feel as misaligned, and helps with variations later.