Standard Tuning EADGBe
This is one of the greatest songs of the 2000s and I'm
surprised nobody else tabbed it out. Granted it is a mostly
percussion based song but I figured I'll add in the chords.
Cheers!
*The rhythm during the verse is a riff based around the G chord
on the low E string play: |--3-3-0-3-0-3-xx-xx-xx--| or [G G E G E G]
Intro: palm mute rhythmically (also through out the first verse:
Verse 1:
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from France and from London.
G G E G E G
But I was there.
Verse 2: (entire verse is based around the riff*
G
I was there in 1968.
G
I was there at the first Can show in Cologne.
G
I'm losing my edge.
G
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
G
I'm losing my edge to the Internet seekers who can tell me every member
G
of every good group from 1962 to 1978.
G
I'm losing my edge.
G
To all the kids in Tokyo and Berlin.
G
I'm losing my edge to the art-school Brooklynites in little jackets
G
and borrowed nostalgia for the unremembered eighties.
G
But I'm losing my edge.
G
I'm losing my edge, but I was there.
G
I was there.
G
But I was there.
G
I'm losing my edge.
G
I'm losing my edge.
G
I can hear the footsteps every night on the decks.
G G G E G E G
But I was there.
G
I was there in 1974 at the first Suicide practices in a loft in New York City.
G
I was working on the organ sounds with much patience.
G
I was there when Captain Beefheart started up his first band.
G
I told him, "Don't do it that way. You'll never make a dime."
G
I was there.
G
I was the first guy playing Daft Punk to the rock kids.
G
I played it at CBGB's.
G
Everybody thought I was crazy.
G
We all know.
G
I was there.
G
I was there.
G
I've never been wrong.
G
I used to work in the record store.
G
I had everything before anyone.
G
I was there in the Paradise Garage DJ booth with Larry Levan.
G
I was there in Jamaica during the great sound clashes.
G
I woke up naked on the beach in Ibiza in 1988.
G
But I'm losing my edge to better-looking people with better ideas and more talent.
G
And they're actually really, really nice.
G
I'm losing my edge.
G
I heard you have a compilation of every good song ever done by anybody.
G
Every great song by the Beach Boys. All the underground hits.
G
All the Modern Lovers tracks.
G
I heard you have a vinyl of Every Niagra record on German import.
G
I heard that you have a white label of every seminal Detroit Techno hit - 1985, '86, '87.
G
I heard that you have a CD compilation of every good '60s cut and Another box set from the '70s.
G
I hear you're buying a synthesizer and an arpeggiator
G
and are throwing your computer out the window
G
because you want to make something real. You want to make a Yaz record.
G
I hear that you and your band have sold your guitars and bought turntables.
G
I hear that you and your band have sold your turntables and bought guitars.
G
I hear everybody that you know is more relevant than everybody that I know.
G
But have you seen my records?
G
This Heat, Pere Ubu, Outsiders, Nation of Ulysses, Mars,
G
The Trojans, The Black Dice, Todd Terry, the Germs, Section 25,
G
Althea and Donna, Sexual harassment, a-ha, Pere Ubu, Dorothy Ashby, PIL,
G
the Fania All-Stars, the Bar-Kays, the Human League, the Normal, Lou Reed, Scott Walker, Monks, Niagra,
G
Joy Division, Lower 48, the Association, Sun Ra,
G
Scientists, Royal Trux, 10cc,
G
Eric B. and Rakim, Index, Basic Channel, Soulsonic Force ("just hit me"!),
G
Juan Atkins, David Axelrod, Electric Prunes, Gil! Scott! Heron!, the Slits,
G
Faust, Mantronix, Pharaoh Sanders and the Fire Engines, the Swans, the Soft Cell,
G
the Sonics, the Sonics, the Sonics, the Sonics.
Outro:
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
You don't know what you really want.
G C
(till end)
