I was na (Em)ive;
your love was like (C7)can dy.
Ar ti fi cial ly (Em)sweet,
I was de ceived by the (C7)wrap ping.
Got caught in your (Em)web,
and I learned how to (C7)bleed.
I was prey in your (Em)bed,
and de voured com (C7)plete ly.
Oh, and it (Em)hurts my soul, ’cause I (G)can’t let go.
All these (Am)walls are cav ing in; I (Am)can’t (C)stop my suf fer ring.
I hate to show that I’ve lost con trol, ’cause I, I keep go ing right back (Am)to the (C)one thing that I need...
to (Em)walk a way from,
yeah.
(I (Em)need to get a way from ya, need to walk a way from ya, (C7)get a way, walk a way, walk a way.) Now, I should have (Em)known
that I was used for a (C7)muse ment.
Could n’t see through the (Em)smoke;
it was all an il (C7)lu sion.
Now I’ve been (Em)lick ing my wounds,
but the ven om seeps (C7)deep er.
We both can se (Em)duce,
but dar ling, you hold me (C7)pris ’ner.
Oh, I’m a (Em)bout to break;
I can’t (G)stop this ache.
I’m ad (Am)dict ed to your al lure, and (Am)I’m (C)fiend in’ for a cure.
Ev ’ry step I take leads to one mis take.
I keep go ing right back (Am)to the (C)one thing that I need, (C)oh.
I can’t mend this torn (G)state I’m in, get ting (Am)noth ing in re turn.
What (Am)did (C)I do to de serve
the pain of this slow burn?
And ev ’ry where I turn I keep go ing right back (Am)to the (C)one thing that I need...
to (Em)walk a way from,
yeah.
(I need to get a way from ya, need to walk a way from ya.) Ev ’ry time I try to grasp for air, I am smoth ered (B7)in de spair; it’s (B7)nev er (Em)o ver, o (B7)ver, (Em)uh, uh.
It seems I’ll nev er wake from this night mare; I let out a (B7)si lent prayer: “Let (B7)it be (Em)o ver, o (B7)ver,”
ooh.
In side, I’m scream ing, beg gin, plead ing: “No more!”
(Ah, Now, what to (Em)oh.)
My heart has been (C7)bruised.
So sad, but it’s (Em)true;
each beat re minds me of you.
Ooh, it (Em)hurts my soul, ’cause I (G)can’t let go.
All these (Am)walls are cav ing in; I (Am)can’t (C)stop my suf fer ring.
I hate to show that I’ve lost con trol, ’cause I, I keep go ing right back (Am)to the (C)one thing that I need, (C)oh.
I’m a bout to break, and (G)I can’t stop this ache.
I’m ad (Am)dict ed to your al lure, and (Am)I’m (C)fiend in’ for a cure.
Ev ’ry step I take leads to one mis take.
I keep go ing right back (Am)to the (C)one thing that I need, (C)oh.
I can’t mend this torn (G)state I’m in, get ting (Am)noth ing in re turn.
What (Am)did (C)I do to de serve
the pain of this slow burn?
And ev ’ry where I turn I keep go ing right back (Am)to the (C)one thing that I need...
to (Em)walk a way from,
yeah.
Yeah.
(I (Em)need to get a way from ya, need to walk a way from ya, (C7)need to get a way from ya, need to walk a way from ya, (Em)need to get a way from ya, need to walk a way from ya, (C7)need to get a way from ya, need to walk a way from ya, (C7)need to get a way from ya, need to walk a way from ya...)
This page shows “Walk Away” by Christina Aguilera 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 G at 83 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to build confidence with an oompah bass pattern in your left hand — that steady bass-note-then-chord rocking motion that gives the song its gentle forward pulse at a comfortable 82 BPM. Your right hand carries the melody in G major over six chords, and most transitions are smooth, but keep an eye on the move into B7: your fingers need to find that D-sharp, which isn't in the key signature, so isolate any passage where B7 appears and loop it slowly until the shape feels automatic. The same goes for C7 — that unexpected B-flat adds emotional color but can catch you off guard. I'd suggest learning hands separately first, locking in that left-hand oompah groove until it's effortless, then layering the melody on top. Once both hands sync up, you'll notice the real payoff here: this song trains you to handle non-diatonic chords calmly mid-phrase, a skill that transfers to countless pop tunes down the road.