Blurred Lines | Chords + Lyrics
Intro
| G |
Everybody get up.
| G | G | G | G |
Oh. Everybody get up (hey, hey, hey).
| D | D | D | (D C B A) |
Hey, hey, hey (uh). Hey, hey, hey (ha-ha) (woo). Turn me up.
Verse 1
| G | G |
If you can’t hear, what I’m trying to say (hey girl, come here).
| G | G |
If you can’t read from the same page (hey).
| D | D |
Maybe I’m going deaf (hey, hey, hey). Maybe I’m going blind (hey, hey, hey).
| D | (D C B A) |
Maybe I’m out of my, mind (hey, hey, hey).
Verse 2
Okay, now he was close. Tried to domesticate you.
But you’re an animal, Baby, it’s in your nature (meow).
Just let me liberate you (hey, hey, hey). You don’t need no takers (hey, hey, hey).
That man is not your maker (hey, hey, hey), and that’s why I’m gon’ take a good girl.
Chorus 1
| G | G | G | G |
I know you want it (hey), I know you want it. I know you want it.
| D | D |
You’re a good girl (hey, hey). Can’t let it get past me (oh yeah).
| D | (D C B A) |
You’re far from plastic (alright). Talkin’ ’bout getting blasted.
Chorus 2
I hate these blurred lines. I know you want it (hey).
I know you want it (oh-oh-oh-oh, yeah-yeah) I know you want it.
But you’re a good girl (ah, hey). The way you grab me.
Must wanna get nasty (ah, hey, hey). Go ahead, get at me (everybody get up).
Verse 3
| G | G |
What do they make dreams for, when you got them jeans on? (Why?).
| G | N.C |
What do we need steam for? You the hottest bitch in this place!
| D | D |
I feel so lucky (hey, hey, hey), you wanna hug me (hey, hey, hey).
| D | (D C B A) |
What rhymes with hug me? (Hey, hey, hey). Hey (everybody get up).
Verse 4 (as verse 1)
Okay, now he was close. Tried to domesticate you.
But you’re an animal, Baby it’s in your nature (uh-huh).
Just let me liberate you (hey, hey, hey) (uh-huh). You don’t need no takers (hey, hey, hey) (uh-huh).
That man is not your maker (hey, hey, hey) (uh-huh). And that’s why I’m gon’ take a good girl.
Chorus 3
| G | G |
I know you want it.
| G | G |
I know you want it (hey). I know you want it.
| D | D |
You’re a good girl, can’t let it get past me (hey, hey).
| D | N.C |
You’re far from plastic (oh). Talkin’ ’bout getting blasted (everybody get up).
Chorus 4 (as chorus 1)
I hate these blurred lines (hate them lines) I know you want it (I hate them lines).
I know you want it (I hate them lines). I know you want it.
But you’re a good girl (good girl). The way you grab me (hustle gang, homie).
Must wanna get nasty (let go) (I say Rob). Go ahead, get at me (let me holla at ’em real quick).
Verse 5
One thing I ask of you, let me be the one you back that ass up to (come on!)
Go from Malibu to Paris, boo (yeah). Had a bitch, but she ain’t bad as you (uh-uh, ayy).
So, hit me up when you pass through (oh), I’ll give you something big enough to tear your ass in two.
Swag on ’em even when you dress casual, I mean, it’s almost unbearable (hey, hey, hey) (everybody get up).
Verse 6
In a hundred years not dare would I. Pull a Pharcyde, let you pass me by.
Nothin’ like your last guy, he too square for you, he don’t smack that ass and pull your hair like that (you like it)
So I’m just watchin’ and waitin’, for you to salute the true big pimpin’.
Not many women can refuse this pimpin’, I’m a nice guy, but don’t get it confused, get pimpin’ (hey!).
Breakdown
| N.C | N.C |
Shake your rump. Get down.
| N.C | N.C G |
Get up. Do I like to get hurt.
| D | D |
Like it hurt.
| D | (D C B A) |
What, you don’t like work? Hey (everybody get up).
Verse 7
| G | G |
Baby, can you breathe? I got this from Jamaica.
| G | G N.C |
It always works for me, Dakota to Decatur (uh-huh).
| D | D |
No more pretending (hey, hey, hey) (uh-huh). ‘Cause now you’re winning (hey, hey, hey) (uh-huh).
| D | (D C B A) |
Here’s our beginning (hey, hey, hey) (uh-huh). I always wanted a good girl.
Chorus 5
(Yeah, yeah).I know you want it (hey).
I know you want it. I know you want it.
You’re a good girl, can’t let it get past me (oh, yeah).
You’re far from plastic (alright). Talkin’ ’bout getting blasted.
Chorus 6
I hate these blurred lines (everybody get up). I know you want it (hey).
I know you want it (oh-oh-oh-oh, yeah-yeah). I know you want it.
But you’re a good girl (ah, hey). The way you grab me.
Must wanna get nasty (hey, hey, hey) Go ahead, get at me.
Outro
| G | G | G | G |
Everybody get up. Everybody get up.
| D | D | D | (D C B A) |
Hey, hey, hey. Hey, hey, hey. Hey, hey, hey.
Blurred Lines Chords: Understanding the Sparse but Impactful Progression
The chords for Blurred Lines are simply G and D. The descending bass line from D to G moves through C, B, and A, showing that D functions as chord V—since C is the b7 of a D chord. This makes G the I chord.
Because the progression is so sparse, dynamics become essential. Blurred Lines often breaks down to just drums and percussion, so when the chords return, their impact is heightened.
Put simply, the chords are:
| G | G | G | G |
| D | D |
| D | (D C B A) |
Questions naturally arise: when do you add stops? Without a keyboard player, can this be played on one acoustic guitar?
All these answers are explored in the TAB lesson: Blurred Lines – Guitar Lesson with TAB. Once you’ve learned the TAB, this chord chart will complete the picture.
Blurred Lines Chord Chart | PDF + iReal Pro Download
You can download my chord chart and share it with your band mates to see if everyone adds the stops in verse 3, verse 7, and chorus 3.
Burred Lines TAB | Course Preview
I didn’t realise there was a keyboard part playing on the up‑beat throughout until I sat down and transcribed this tune. Using Serato to mute the vocal, I could finally hear it clearly, deep in the mix.
In the course, we use TAB to first learn the bass line, turn it into a guitar part, and then explore how to incorporate that keyboard part. We also examine the various stops in the tune—they aren’t always the same. Here’s a preview of one of the eight (!) TAB examples included in the course.
This part works on a single guitar, especially with a percussion loop. Later in the arrangement, you can add the keyboard part as well (see TAB lesson).
Controversy and success
Using a “reference track”—a common industry practice when writing a song—was key to Blurred Lines. Marvin Gaye’s Got to Give It Up served as inspiration, but for Robin Thicke and Pharrell, the similarities were deemed too close. They were ultimately required to pay a substantial portion of their royalties to Gaye’s estate.
To the average listener, this might seem like outright theft, but in practice, many artists start with an existing song and transform it into something original. Music history is full of examples: taking a familiar chord progression and writing a new melody is a recognised technique called a contrafact, popularised by Charlie Parker. The distinction between inspiration and copying is, fittingly, a blurred line (!) every songwriter must navigate.
When Thicke, Pharrell Williams, and T.I. released Blurred Lines in 2013, it became both a massive hit and a source of controversy. Critics targeted the lyrics for allegedly promoting rape culture, while Marvin Gaye’s estate filed a high-profile lawsuit over copyright infringement. Despite—or perhaps because of—these controversies, Blurred Lines topped the charts in 25 countries, including the U.K. and the U.S., where it held number one for twelve weeks.
The music video, featuring three supermodels dancing with Thicke and Pharrell, included a topless version later removed from YouTube for violating the platform’s terms of service, fuelling further debate. The campaign around Blurred Lines demonstrated how controversy can drive attention, though the copyright case ultimately resulted in a significant payout to Gaye’s estate.
Blurred Lines Chords: Continue Learning
Want to master this song? Check out the full TAB lesson here: Blurred Lines (Robin Thicke) Guitar Lesson with TAB.
Alternatively, here are five similar tunes you might enjoy:
