break.
I can not take this an y (C#)more,
wish say ing ev ’ry thing I’ve said be (C#5)fore.
(C#5)All these words, (D#5)they (A5)make (G#5)no (C#5)sense: I find bliss (D#5)in (A5)ig (G#5)no (C#5)rance.
(C#5)Less I hear (D#5)the (A5)less (G#5)you’ll (C#5)say, you’ll find that (D#5)out (A5)an (G#5)y (C#5)way,
just like be fore.
Ev ’ry thing you say to me takes me one step clos er to the edge and I’m a bout to break.
I need a lit tle room to breathe ’cause I’m one step clos er to the edge, I’m a bout to break.
I find the an swers aren’t so (C#)clear,
wish I could find a way to dis ap (C#5)pear.
(C#5)All these thoughts, (D#5)they (A5)make (G#5)no (C#5)sense: I find bliss (D#5)in (A5)ig (G#5)no (C#5)rance.
(C#5)Noth ing seems (D#5)to (A5)go (G#5)a (C#5)way o ver and (D#5)o (A5)ver (G#5)a (C#5)gain,
just like be fore.
Ev ’ry thing you say to me takes me one step clos er to the edge and I’m a bout to break.
I need a lit tle room to breathe ’cause I’m one step clos er to the edge, I’m a bout to one step clos er to the edge, I’m a bout to break.
Ev ’ry thing you say to me takes me one step clos er to the edge, and I’m a bout to break.
I need a lit tle room to breathe ’cause I’m one step clos er to the edge, and I’m a bout to
(C#5)break.
Shut up when I’m talk ing to you.
(D5)Shut (C#5)up,
(D5)shut (C#5)up,
(D5)shut (C#5)up.
(C#5)Shut up when I’m talk (E5)ing (D5)to (C#5)you.
(D5)Shut (C#5)up,
(D5)shut (C#5)up,
(D5)shut (C#5)up.
(C#5)Shut up when I’m talk (E5)ing (D5)to (C#5)you.
(D5)Shut (C#5)up.
(D5)I’m a bout to break.
Ev ’ry thing you say to me takes me one step clos er to the edge, and I’m a bout to break.
I need a lit tle room to breathe ’cause I’m one step clos er to the edge, and I’m a bout to break.
Ev ’ry thing you say to me takes me one step clos er to the edge, and I’m a bout to break.
I need a lit tle room to breathe ’cause I’m one step clos er to the edge, and I’m a bout to
(CN.C.)break.
This page shows “One Step Closer” by Linkin Park in our color-coded kid songbook view — every note is colored by pitch (red C, orange D, yellow E, green F, blue G, purple A, pink B) and the lyrics sit directly under each note, so children can sing along while they play. The song is in the key of E at 95 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for power chords — you've got a dozen of them across the key of E, and your right hand needs to lock into those tight two- or three-note shapes cleanly every time. At 95 BPM the tempo is moderate, but the walking bass pattern in your left hand means both hands stay busy, so start hands-separate until each part feels automatic. Pay special attention to the transitions between C#pow and D#pow — they sit a whole step apart and come up fast, so drill that move in a slow loop until your fingers find the distance without looking. The Dsus2 and the natural C chord will feel unexpected against the E tonality; don't rush through them, because those moments carry the dramatic tension of the song. Once you're comfortable, bring both hands together at around 70 BPM and gradually push toward full speed. If the walking bass ever falls out of sync with your chord hand, drop the tempo — accuracy first, always. This is the piece that'll solidify your power-chord vocabulary and teach your left hand to walk independently, skills you'll use in practically every rock arrangement from here on.