Countin’ on my fingers
Countin’ on my toes
Slippin’ thru your fingers
Watchin’ how it grows
You can love me baby but you can’t walk out
Someone oughta tell you what it’s really all about
Do you ever wonder
Do you ever hate
Six feet under
Someone who can wait
You can love me baby but you can’t walk out
Someone oughta tell you
Oughta tell you what it’s really all about
You’re never gonna make it baby
Ooh you’re never gonna
Make it babe
Make it babe
Make it baby
Countin’ on my fingers
Countin’ on my toes
Slippin’ thru the ringer
Watchin’ how it goes
You can love me baby but you can’t walk out
Someone oughta tell you what it’s really all about
Buy another fixture
Tell another lie
Paint another picture
See who’s surprised
You can love me baby but you can’t walk out
Someone oughta
Someone oughta tell you what it’s reallly all about
You’re never gonna make it baby
Ooh you’re never gonna make it baby
Ooh you’re never gonna
Make it babe
Make it babe
Make it baby
You can love me baby but you can’t walk out
You can love me baby but you can’t walk out
You can love me baby but you can’t walk out
Someone oughta someone oughta
Someone oughta someone oughta
Someone oughta someone oughta
Someone oughta someone oughta
You can love me baby but you can’t walk out
Someone oughta tell you
Oughta tell you what it’s really all about
(Lindsey Buckingham) © 1979 Now Sounds Music (ASCAP)
About the Song
Lindsey kicks off his contributions with the least Rumours-like song of the lot. Many of the vocals were recorded while kneeling or lying on the floor.
Lindsey: “About as far from “Over & Over” as it’s possible to go. I was trying to find things that were off the radar. I took a guitar and turned it way down, in the range of the higher notes of a bass, not like a baritone guitar, where it’s correct, but where it’s actually a little incorrect — the strings are flopping around and sharping when you hit them. I wrote a little figure with that, threw some teenage influences at it with the drums. It becomes a bit surreal — you throw a bunch of vocals on top that are communal, messy, a little bit punky even.
I don’t think there’s anyone else on there but me. There were times when the band would augment, and there were times when, even if I took a song in with the intention of having them play, it wouldn’t necessarily stick. On this, that one guitar was covering everything. It was a concept piece on that level. There was nothing for John and Christine to do.
Lyrically, I didn’t really have anything to say other than what I could put together that sounded musical. There was probably something subconscious about the lyrics. You could say that about Rumours too. I don’t think anyone in the band was in touch with the fact that we might have been writing dialogues with each other. It took the audience to help define that for us. That probably holds true for songs on Tusk too.”
—Tusk Deluxe (2015) liner notes
