(A)I can’t fight this feel in’ an y long er,
and (Bm)yet I’m still a fraid to let it flow.
What (A)start ed out as friend ship has grown (Em)strong (F#)er;
I on ly (Bm)wish I had the strength to let it show.
I (A)tell my self that I (E)can’t hold out for ev er.
I (Bm)say there is no (Bb)rea son for my fear,
’cause (A)I feel so se cure when we’re to geth
(F#)er.
You give my life di rec tion.
You make ev ’ry thing so (E)clear.
And (D)e ven as I wan der, I’m (C#m)keep in’ you in sight.
You’re a (D)can dle in the win dow on a cold, dark win ter’s (E)night.
And (D)I’m get ting clos (E)er (F#m)than I ev er thought I (E7sus)might.
And I can’t fight this feel in’ an y more.
I’ve for got ten what I (A)start ed fight in’ for.
It’s time to bring this ship in to the shore
and (C#m)throw a way the oars for ev er.
’Cause I can’t fight this (A)feel in’ an y more.
I’ve for got ten what I (A)start ed fight in’ for.
And if I have to crawl up on the floor,
come (C#m)crash in’ through your door,
ba by, (Esus)I can’t fight this feel in’ an y more.
My (A)life has been such a whirl wind since I saw you.
I’ve been (Bm)run nin’ a round in cir cles in my mind.
And it (A)al ways seems that I’m fol low in’ you,
(F#)girl,
’cause you (Bm)take me to the plac es that a lone I’d nev er find.
And (Esus)I can’t fight this feel in’ an y more.
This page shows “Can't Fight This Feeling” by REO Speedwagon 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 A at 80 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement sits at a comfortable 80 BPM, but don't let the slow tempo fool you—twelve distinct chords means your left hand will be busy with shapes that shift frequently, so start hands-separate and really lock in the less familiar voicings like Bbaug and Esus4 before combining. The Bbaug is your trickiest moment; it acts as a chromatic passing chord and will sound wrong if you hesitate into it, so loop that specific transition until it feels inevitable rather than surprising. Pay close attention to smooth pedal changes on the slower sustained passages—at this tempo every muddy overlap between D and C#m or F#m7 and E7 is exposed, so practice lifting and re-pressing right on each chord change. For your right hand, keep the melody singing and connected; resist the urge to rush through the verse into the chorus build. Work the chorus section at half tempo first, then bring it up gradually. This is the kind of piece that will genuinely strengthen your ability to manage rich, extended chord sets in a pop-ballad context—once these twelve shapes are under your fingers, most singer-songwriter material will feel straightforward by comparison.