Loading song
Fetching song
Down on the West Coast, they got a say in’,
“If you’re not drink in’,
then you’re not play in’.” But you got the mu sic, you’ve got the mu sic in you,
don’t you?
Down on the West Coast, I get this feel in’ like it all could hap pen.
That’s why I’m leav in’ you (E5)you for the mo ment, you for the mo ment, Boy Blue,
yeah, you.
You’re fly in’ (F#m)high at the show, way.
I’m feel in’ hot to the touch.
You say you’ll (E)miss me the most, real I say I’ll miss you so much.
But some thin’ (D)keeps me real qui et, I’m a (E)live, I’m a lush.
Your love, your love, I love.
I can see my (D)ba by swing in’,
his Par lia ment’s on (C#m7)fire and his hands are up.
On the bal co (E)ny and I’m sing in’ (F#m)ooh ba by, (E)ooh ba by, (A)I’m in love.
I can see my (D)sweet boy sway in’.
He’s cra zy y Cu (C#m7)ba no co mo yo, my love.
On the bal co (E)ny and I’m say in’ (F#m)move ba by, (E)move ba by, (A)I’m in love.
(F#5)I’m in love.
I’m in love.
I’m in love.
I’m in love.
I can see my (D)ba by swing in’,
his Par lia ment’s on (C#m7)fire and his hands are up.
On the bal co (E)ny and I’m sing in’ (F#m)ooh ba by, (E)ooh ba by, (A)I’m in love.
I can see my (D)sweet boy sway in’.
He’s cra zy y Cu (C#m7)ba no co mo yo, my love.
On the bal co (E)ny and I’m say in’ (F#m)move ba by, (E)move ba by, (A)I’m in love.
I’m in love.
I’m in love.
This page shows “West Coast” by Lana Del Rey 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 95 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for navigating sharp-heavy territory — F# major means almost every white key becomes a black key, so your fingers need to stay relaxed and curved to move confidently across those raised surfaces. Your left hand drives an octave bass pattern throughout, which sounds powerful but demands consistent hand stretching and accurate leaps, especially when jumping between F#m and D or E positions. Watch the transitions into those power chords (Dpow, Epow, F#pow) — they're stripped-down shapes, but at 95 BPM with an upbeat pop feel, the timing can slip if you're not locking into the groove. I'd suggest learning hands separately first, looping the verse chord cycle (F#m to C#m7 to Bm progressions) until it's automatic, then layering the left hand in at around 70 BPM before building up to tempo. The trickiest stumbling point is usually the C#m7 — make sure you've got that shape memorized so you're not hunting for it mid-phrase. Stick with this one and you'll build real confidence playing in sharp keys, which opens up a huge chunk of the pop repertoire.