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Girl, I can’t no tice but to no tice you, (F)you no tic in’ me, (Gm)me.
From a cross the room I could see it and can’t stop my self from (Ebmaj7)look in’ and no tic in’ you, (F)(you) no tic in’ me, (Gm)(me.) Watch out, I’ve seen her type be fore.
That girl is so dan ger ous.
That girl is so dan ger ous.
That girl is a bad girl.
I’ve seen her type be fore, she’s so dan ger ous.
That girl is so dan ger ous.
That girl is a bad girl, yeah, yeah.
Girl, I can’t no tice but to no tice you, (F)you no tic in’ me, (Gm)me.
From a cross the room I could see it and can’t stop my self from (Ebmaj7)look in’ and no tic in’ you, (F)(you) no tic in’ me, (Gm)(me.) Watch out, I’ve seen her type be fore.
That girl is so dan ger ous.
That girl is so dan ger ous.
That girl is a bad girl.
I’ve seen her type be fore, she’s so dan ger ous.
That girl is so dan ger ous.
That girl is a bad girl, yeah, yeah.
Girl, I can’t no tice but to Girl, I can’t no tice but to I see you got that (F)fire by the way that you’re walk in’, (walk in’.) From left to right I watched her go (Ebmaj7)down.
Girl, I just want it (F)right now, don’t wan na do no talk in’, (talk in’.) Short y’s so right, I need to slow (Ebmaj7)down.
Girl, I can’t no tice but to no tice you, (F)you no tic in’ me, (Gm)me.
From a cross the room I could see it and can’t stop my self from (Ebmaj7)look in’ and no tic in’ you, (F)(you) no tic in’ me, (Gm)(me.) Watch out, I’ve seen her type be fore.
That girl is so dan ger ous.
That girl is so dan ger ous.
That girl is a bad girl.
I’ve seen her type be fore, she’s so dan ger ous.
That girl is so dan ger ous.
That girl is a bad girl, yeah, yeah.
This page shows “Dangerous” by Kardinal Offishall featuring Akon 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 C at 112 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to get comfortable with an oompah bass pattern — your left hand alternates between a low root note and a mid-range chord hit, giving the track its bouncy, playful drive. At 112 BPM that pulse should feel relaxed, not rushed, so lock it in slowly before adding your right hand. The four chords here — C, Ebmaj7, F, and Gm — are simple shapes individually, but the move from C into Ebmaj7 is the one that'll trip you up because it's an unexpected jump outside the key; isolate that transition and loop it until your fingers find the Eb and G without hunting. Keep your left-hand wrist loose so the oompah stays light and rhythmic rather than heavy. I'd suggest hands-separate practice first, getting that bass groove automatic, then layering the melody on top. Once it clicks, this song will genuinely strengthen your ability to handle borrowed chords — the kind that pop up constantly in modern pop — while keeping a steady rhythmic pocket underneath.