Chords for FSOL - Equinox Interview

Tempo:
132.7 bpm
Chords used:

F#

D#

C#

F#m

G#

Tuning:Standard Tuning (EADGBE)Capo:+0fret
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FSOL - Equinox Interview chords
Start Jamming...
[G#] The whole authorship of sounds changed, you know.
We carry on the sound that we're receiving.
[Gm] I wasn't the girl screaming in the park, you know.
That wasn't me.
There was a [A#] performance there.
She did it.
Thanks a lot, you know.
I [G#] took it.
[D] Maybe that's what electronic music is about.
Maybe that's the way, if you look at [G] the nature of the sounds that we collect,
it's basically a very, very cheap way of making yourself look [G#m]
anything but the truth.
It's a [G]
very clever way of making yourself look like the most cosmopolitan,
[D] travelled, interesting, multi-headed individual, you know.
[D#]
[G] We're masters of the machine, and that's all.
[G#] Machines aren't just made with musical intentions in mind these days.
There's machines made which are going to revolutionize television.
And if the TV companies don't understand it, they don't have to play it,
we'll do exactly the way we've done with radio,
we'll go through small cable [D] TV stations and work [G#] the peripheries
until they realize it and they become addicted to it and they have to have it.
[F]
[N]
[C]
[Gm] There's nothing subversive [F#] about taping TV,
about [C] receiving digital quality sound.
It's coming in, you know.
I can't help it.
I'm receiving it.
Christ, I'm sorry for using it in an unjustified way.
[N] I'm sorry for recycling.
We've inadvertently become everything that I hated, and that is a musician.
I now have to be so clever with my samples so I don't get sued, you know.
I've become a musician.
Well, great, you know.
Judging from the reactions we get, one of them is impotence.
If you're becoming impotent, then you've been listening to FSRL
because we're just some weird illness that's sweeping the country.
It comes through TVs, it comes through radios,
and it comes through vinyl or art or whatever, you know.
And it affects you.
We've had stories about guys stopping midway through fornication.
That sounds like a pretty good reaction to me.
Because, Christ, I've heard so much about,
this is the perfect fornication music, baby.
Christ, [C#] I'm not interested in that.
Sounds too ordinary to me.
Sounds like everybody does that.
Everybody makes the perfect [D#] music.
Christ, I mean, we're not
If we can make people impotent, we're doing something. Yeah.
[D#]
I'm trying to fight the whole [F#] history of music.
It just sounds like you're saying, I'm losing.
[C#]
[B]
[D#] [F#m]
[F#] [B]
[F#m] [F#]
[G#] [C#m]
[C#] [A]
[F#] [C#m]
[F#m] [E]
[F#]
[F#m] [C#]
[C#m]
[A] [C]
[B] [C#m]
[F#] [E]
[C#]
[F#]
[Am] [F#]
[Bm] [F#] [C#]
[F#] [C#]
[F#]
[F#m] [F#]
[A]
[F#]
[F#m]
[D#] [D]
[A] [D#]
[C] [F#]
[D#] I'm losing.
[D] [E] [D#]
[F#]
[F#m]
[B]
[G]
[D#]
Key:  
F#
134211112
D#
12341116
C#
12341114
F#m
123111112
G#
134211114
F#
134211112
D#
12341116
C#
12341114
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Chords
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To jam and learn The Future Sound Of London - Youre Creeping Me Out chords, your primary focus should be mastering these chords sequence: A, F#, A, F#, F#m, B, F#m, F#, G#m, G, D, D# and G. A good strategy is to initiate at 66 BPM and then accelerate to the track's regular speed of 133 BPM. Configure the capo to your vocal range and chord preference, remembering the key of B Major.

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_ _ _ _ _ _ _ _
_ _ _ [G#] The whole authorship of sounds changed, you know.
We carry on the _ _ sound that we're receiving.
_ [Gm] I wasn't the girl screaming in the park, you know.
_ _ That wasn't me.
There was a [A#] performance there.
She did it.
Thanks a lot, you know.
I [G#] took it. _
_ _ _ _ _ _ _ _
[D] _ _ _ _ _ _ Maybe that's what electronic music is about.
Maybe that's the way, if you look at [G] the nature of the sounds that we collect,
it's basically a very, very cheap way _ of making yourself look [G#m] _
anything but the truth.
_ It's a [G] _
very clever way of making yourself look like the most cosmopolitan,
[D] travelled, interesting, _ _ multi-headed individual, you know.
_ _ _ [D#] _ _
_ _ _ _ _ [G] We're masters of the machine, and that's all.
[G#] _ Machines aren't just made with musical intentions in mind these days.
There's machines made which are going to revolutionize television. _ _ _ _
And if the TV companies don't understand it, they don't have to play it,
we'll do exactly the way we've done with radio,
we'll go through small cable [D] TV stations and work [G#] the peripheries
until they realize it and they become addicted to it and they have to have it. _
[F] _ _ _ _ _ _ _ _
[N] _ _ _ _ _ _ _ _
_ [C] _ _ _ _ _ _ _
[Gm] _ _ _ _ _ There's nothing subversive [F#] about taping TV,
about [C] receiving digital quality sound.
It's coming in, you know.
I can't help it.
I'm receiving it.
Christ, I'm sorry for using it in an unjustified way.
[N] I'm sorry for _ _ recycling.
_ We've inadvertently become everything that I hated, and that is a musician.
I now have to be so clever with my samples so I don't get sued, you know.
I've become a musician.
Well, great, you know. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
Judging from the reactions we get, one of them is impotence.
If you're becoming impotent, then _ you've been listening to FSRL
because we're just some weird illness that's sweeping the country.
It comes through TVs, it comes through radios,
and it comes through vinyl or art or whatever, you know.
And it affects you.
We've had stories about guys _ _ _ stopping midway through fornication.
That sounds like a pretty good reaction to me.
Because, Christ, I've heard so much about,
this is the perfect fornication music, baby.
_ Christ, [C#] I'm not interested in that.
Sounds too ordinary to me.
Sounds like everybody does that.
Everybody makes the perfect [D#] music.
Christ, I mean, we're not_
If we can make people impotent, we're doing something. Yeah.
_ _ _ _ [D#] _ _
_ _ _ I'm trying to fight the whole [F#] history of music.
It just sounds like you're saying, I'm losing. _ _ _
_ _ [C#] _ _ _ _ _ _
[B] _ _ _ _ _ _ _ _
[D#] _ _ [F#m] _ _ _ _ _ _
[F#] _ _ _ _ [B] _ _ _ _
[F#m] _ _ _ _ [F#] _ _ _ _
[G#] _ _ _ _ [C#m] _ _ _ _
[C#] _ [A] _ _ _ _ _ _ _
[F#] _ _ _ _ [C#m] _ _ _ _
[F#m] _ _ _ _ _ _ [E] _ _
_ _ _ _ [F#] _ _ _ _
[F#m] _ _ _ _ _ _ [C#] _ _
_ _ [C#m] _ _ _ _ _ _
[A] _ _ _ _ [C] _ _ _ _
[B] _ _ _ _ _ [C#m] _ _ _
[F#] _ _ _ _ [E] _ _ _ _
_ _ _ [C#] _ _ _ _ _
[F#] _ _ _ _ _ _ _ _
[Am] _ _ _ [F#] _ _ _ _ _
[Bm] _ _ _ _ [F#] _ _ [C#] _ _
_ _ _ _ _ _ _ _
[F#] _ _ _ _ _ _ [C#] _ _
_ _ _ [F#] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [F#m] _ _ _ _ [F#] _ _
_ _ _ _ _ _ [A] _ _
_ _ _ [F#] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [F#m] _ _ _ _ _ _
[D#] _ _ _ _ [D] _ _ _ _
[A] _ _ _ _ [D#] _ _ _ _
_ _ [C] _ _ [F#] _ _ _ _
[D#] I'm losing.
_ [D] _ _ _ _ [E] _ _ _ _ [D#] _ _ _ _
[F#] _ _ _ _ _ _ _ _
_ _ [F#m] _ _ _ _ _ _
[B] _ _ _ _ _ _ _ _
_ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ [D#] _ _
_ _ _ _ _ _ _ _