I can’t be lieve it’s o ver;
I (Em)watched the whole thing fall,
and I (Gm)nev er saw the writ ing that was on the wall.
(A7)If I on ly knew
the days were slip ping past,
that the (A5)good things (A5)nev er last,
that (Dm)you were (Dm)cry (G)in’.
Sum mer turned to win ter, and the (Em)snow, it turned to rain;
then the (Gm)rain turned in to tears up on your face.
I (A7)hard ly rec og nize
the girl you are to day; and God, I hope it’s not too late.
Mm, it’s not too late.
’Cause (Am7)you are (C6)not a lone;
I’m al ways there with you,
and we’ll get (G)lost to geth er, till the (Em)light comes pour ing through.
’Cause when you (Am)feel like (Am)you’re done
and the dark ness has won,
babe, you’re not lost.
When your (Am)world’s crash ing down
and you can’t bear the thought,
I said, babe, you’re not lost.
Life can show no mer cy; it can (Em)tear your soul a part.
It can (Gm)make you feel like you’ve gone cra zy, but you’re not.
Though (A7)things have seemed to change,
there’s one thing that’s still the same: in my heart you have re mained,
and we can fly,
fly,
fly
a
way.
’Cause (Am)you are (C)not a lone;
and you can’t bear to crawl,
I said, ba by, you’re not lost.
I said, (Am7)ba by, you’re not lost.
I said, (Am7)ba by, you’re not (C)lost.
I said, (Am7)ba by, you’re not (C)lost.
This page shows “Lost” by Michael Buble 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 68 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a wonderful workout for navigating chord extensions and suspensions at a relaxed 68 BPM — don't let that slow tempo fool you into coasting, because you're handling 17 distinct chords in the key of C, many of them close relatives like Am, Am7, Asus4, and A7. Your left hand plays block bass, so keep it steady and grounded while your right hand voices those subtle chord shifts. Start hands-separate and really drill the G-to-Gsus4-to-G7 and Am-to-Asus4 transitions until they feel automatic — those suspended fourths resolving are what give the song its aching, sad pull. Use the sustain pedal lightly, lifting cleanly on each chord change so nothing muddies together. Loop any four-bar phrase where you stumble before playing through. This is the piece that'll make seventh chords and sus voicings feel like second nature to you.