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Break in’ my back just to know your name.
Sev en teen tracks and I’ve had it with this game.
I’m (B5)break in’ my back just to know your name.
But heav en ain’t close in a place like this.
An y thing goes but don’t blink you might miss.
’Cause (B5)heav en ain’t close in a place like this.
I said a heav en ain’t close in a place like this.
Bring it back down.
(Asus4)Bring it back down to night,
hoo, hoo.
(G5)Nev er thought I’d let a ru mor ru in my moon light.
(CN.C.)Well, some bod y told me you had a boy friend who looks like a girl friend that I had in Feb ru ar y of last year.
It’s not con fi den tial.
I’ve got po ten tial.
Read y, let’s roll on to some thing new.
Tak in’ its toll then I’m ing with out you.
’Cause (B5)heav en ain’t close in a place like this.
I said a heav en ain’t close in a place like this.
Bring it back down.
(Asus4)Bring it back down to night,
hoo, hoo.
(G5)Nev er thought I’d let a ru mor ru in my moon light.
(CN.C.)Well, some bod y told me you had a boy friend who looks like a girl friend that I had in Feb ru ar y of last year.
It’s not con fi den tial.
I’ve got po ten tial.
tial a rush ing, a rush (F#5)ing a round.
(CN.C.)Pace your self for me.
I said may be, ba by, please.
But I just don’t know now.
May be, ba by, when all I wan na do is try.
Well, some bod y told me you had a boy friend who looks like a girl friend that I had in Feb ru ar y of last year.
It’s not con fi den tial.
I’ve got po ten tial a rush ing, a rush (F#5)ing a round.
Now some bod y told me you had a boy friend who looks like a girl friend that I had in Feb ru ar y of last year.
It’s not con fi den tial.
I’ve got po ten tial a rush ing, a rush (F#5)ing a round.
Now some bod y told (F#5)ing a round.
This page shows “Somebody Told Me” by The Killers 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 B at 135 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a fantastic workout for keeping your left hand locked into a steady pedal bass while your right hand navigates a pretty wide chord vocabulary — you've got power chords, sus2 and sus4 voicings, and standard triads all mixed together, so shape-switching speed matters here. At 135 BPM the transitions between Bm, Gsus2, and Asus4 can sneak up on you; start at around 90 BPM hands-separate, letting your right hand memorize those sus chord shapes until they feel automatic, then layer your left hand's pedal pattern underneath. The trickiest stumbling point is usually the jump from Epow up to Bpow — isolate that two-bar passage and loop it until the distance feels natural in your hand. Once you bring it up to tempo, lean into the rhythmic drive rather than chasing every note perfectly. This is the song that'll make quick chord-shape changes at tempo feel second nature.