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I could (B)eat that girl for lunch, yeah, she (E)danc es on my tongue.
Tastes like (B)she might be the one.
And I could (B)nev er get e nough, I could (A)buy her so much stuff.
It’s a (G)crav ing, not a crush, huh.
(B)“Call me when you’re there.” Said, “I (E)bought you some thing rare and I (B)left it un der ‘Claire.’”
So now, she’s (B)com ing up the stairs, so I’m (A)pull ing up a chair and I’m (G)put ting up my hair.
Ba by, I (B)think you were made for me.
Some bod y (B)write down the rec i pe.
Been try ing (B)hard not to o ver eat.
You’re just so (G)sweet.
I’ll run a (B)show er for you like you want,
clothes on the (B)coun ter for you, try ’em on.
If I’m al (B)lowed, I’ll help you take ’em off.
I could (B)eat that girl for lunch, yeah, she (E)danc es on my tongue.
Tastes like (B)she might be the one.
And I could (B)nev er get e nough, I could (A)buy her so much stuff.
It’s a (G)crav ing, not a crush, huh.
She’s tak in’ (B)pic tures in the mir ror.
Oh my (E)God, her skin’s so clear.
Tell her, (B)“Bring that o ver here.”
You need a (B)seat?
I’ll vol un teer.
Now she’s (A)smil ing ear to ear.
She’s the (G)head lights, I’m the deer.
I’ve said it all be (B)fore, but I’ll say it a gain.
I’m in t’rest ed in (B)more than just be ing your friend.
I don’t wan na (B)break it, just want it to bend.
Do you know how to (G)bend?
I could (B)eat that girl for lunch.
She (B)danc es on my tongue.
I (B)know it’s just a hunch,
but she might be the one.
I could
(B)eat that girl for lunch.
Yeah, she
tastes like (G)she might be the one.
I could,
I could
(B)eat that girl for lunch.
Yeah, she,
yeah, she
tastes like (G)she might be the one.
This page shows “Lunch” by Billie Eilish 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 D at 126 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement sits in D major with a driving 126 BPM pulse, so your biggest challenge right away is locking into that steady, punchy rhythm without rushing — tap your foot or count aloud until the groove feels automatic. Your left hand will work through a fairly repetitive chord pattern, which is great news because once you nail those shapes, they cycle back reliably; focus on clean transitions between chords, especially any jumps that span more than a fifth, and keep your wrist loose so you're not tensing up at tempo. Your right hand carries a syncopated melodic line that likes to land just off the beat — practice that hand alone at about 80 BPM first, really feeling where the notes fall between your foot taps, then gradually speed up. Once both hands feel confident separately, combine them in short two-bar loops before stringing sections together. Use light sustain pedal to connect chords but lift cleanly on each chord change to avoid muddiness. This is a fantastic piece for training your internal clock against syncopation, and once it clicks, you'll carry that skill into everything you play next.