I’m going to take my (Cm)time,
I have all the time in the world
to make you mine.
It is writ ten in the stars a bove,
when the gods al de (Cm)cree
you’ll be have right here by my side,
(Ab)o right next to me.
You can run but you can not hide.
Don’t say you want me,
don’t say you need me,
don’t say you love me,
it’s un der stood.
Don’t say you’re hap py
out there with out me,
I know you can’t be
’cause it’s no good.
I’ll be fine (Cm)time,
I’ll be wait ing pa tient the ly,
till you the signs,
and come run ing to my o pen arms,
when will you al ise, (Cm)cree
do we have to till our col lide,
(Ab)o pen up your eyes.
You can run can’t turn back the tide
Don’t say you want me, don’t say you need me, don’t say you love me,
it’s un der stood.
Don’t say you’re hap py out there with out me, I know you can’t be
’cause it’s no good.
I’ll be fine
I’m going to take my (Cm)time,
I have all the time in the world
to make you mine.
It is writ ten in the stars a bove.
Don’t say you want me, don’t say you need me, don’t say you love me,
it’s un der stood.
Don’t say you’re hap py out there with out me, I know you can’t be
’cause it’s no good.
Don’t say you want me, don’t say you need me, don’t say you love me,
it’s un der stood.
Don’t say you’re hap py out there with out me, I know you can’t be
’cause it’s no good.
Don’t say you want it’s no good.
This page shows “It's No Good” by Depeche Mode 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 F at 100 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great way to build confidence with extended chord shapes — your right hand will navigate Abmaj7 and Abmaj9 voicings that stretch beyond basic triads, so take a moment to learn each shape in isolation before you try them in tempo. Your left hand drives an oompah bass pattern, bouncing between a low root and a mid-register chord hit, which at 100 BPM should feel steady but energetic — keep that rhythm relaxed and even, almost like a pulse you could tap your foot to. The trickiest transition is moving between Abmaj9 and Adim: the diminished chord sneaks in quickly, so loop that two-chord change hands-separately until it's automatic. Watch the shift from Cm7 to C major too — it's just one note difference, but rushing it smudges the dramatic color change that makes this song pop. Once those transitions click, you'll have real fluency with major seventh and minor seventh shapes you'll use everywhere.