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.
Chorus 1
| G | G | G | G |
Good girl. 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
Chorus 3
| G | G |
good girl, 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 |
Get up. Do I like to get
| D | D |
hurt, like it hurt.
| D | (D C B A) |
What, you don’t like work? Hey (everybody get up).
Verse 7
Baby, can you breathe? I got this from Jamaica.
It always works for me, Dakota to Decatur (uh-huh).
No more pretending (hey, hey, hey) (uh-huh). ‘Cause now you’re winning (hey, hey, hey) (uh-huh)
Here’s our beginning (hey, hey, hey) (uh-huh). I always wanted a
Chorus 5
good girl (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, indicating that D functions as chord V—since C is the b7 of a D chord.
This makes G the I chord and D the V chord.
Because the chord progression is so sparse, dynamics play a crucial role. Blurred Lines takes this to the extreme, frequently breaking down to just drums and percussion, making the impact of the chords even greater when they return.
Using a “reference track”—a common industry practice when writing a song—was key to Blurred Lines. Got to Give It Up served as inspiration, but unfortunately for Robin Thicke and Pharrell, the similarities were too obvious. They were ultimately required to pay a significant portion of their royalties to the copyright holders of Marvin Gaye’s music.
To the average listener, this might seem like outright theft, but in reality, many artists begin with an existing song and modify it until it becomes something they can call their own. Music history is filled with examples of this.
For instance, taking a well-known chord progression and writing a new melody is a recognised technique called a contrafact—a trend popularised by Charlie Parker.
The distinction between drawing inspiration and outright copying is, perhaps fittingly, a blurred line (!) that every songwriter must carefully navigate.
Blurred Lines controversy and success!
Released in 2013 by Robin Thicke, Pharrell Williams, and T.I., Blurred Lines became both a massive hit and a source of controversy.
Criticism arose on two fronts. First, the lyrics were accused of promoting rape culture, sparking backlash as societal awareness around consent and gender issues grew. Second, Marvin Gaye’s estate claimed the song plagiarised Got to Give It Up, leading to a highly publicised lawsuit.
Despite the controversy, Blurred Lines topped the charts in 25 countries, including the U.K. and the U.S., where it held the number-one spot for twelve weeks.
The music video featured three supermodels dancing with Thicke and Pharrell. A topless version was later removed from YouTube for violating the platform’s terms of service, further fuelling discussions around the song.
The entire Blurred Lines campaign seemingly embraced the notion that controversy drives attention. While this strategy initially propelled the song’s success, the copyright lawsuit ultimately resulted in a significant payout to Marvin Gaye’s estate.
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