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Ev ’ry day you live a life so (C6)full of hope.
Should n’t drag your soul a round you like a (C6)leath er rope.
You re mem ber ev ’ry thing you thought your (C6)life would be?
Well, it’s fall en through the cracks of an cient (C6)his to ry.
(F)Whoa,
(F6/9)is this some thing that I’ve nev er, (Fmaj13)some thing that I’ve nev (F6/9)er had?
(F)Whoa,
(F6/9)is this some thing that I’ve nev er, (Fmaj13)some thing that I’ve nev (F6/9)er had?
(G)Tell you what I’ve heard:
the wheels are fall ing off, the wheels are fall ing off the world.
Fri day night, and ev ’ry thing is (C6)A.
o kay;
we are liv ing like we’ve al ways known a (C6)dif f’rent way.
We are tak ing all the dif f’rent roads be (C6)fore I go.
It ’ll bring you back a round of to the (C6)one you know.
(F)Whoa,
(F6/9)is this some thing that I’ve nev er, (Fmaj13)some thing that I’ve nev (F6/9)er had?
(F)Whoa,
(F6/9)is this some thing that I’ve nev er, (Fmaj13)some thing that I’ve nev (F6/9)er had?
(G)Tell you what I’ve heard:
the wheels are fall ing off, the wheels are fall ing off the world.
Fri are fall ing off the world.
The wheels are fall ing off the world.
The wheels are fall ing off the world.
are fall ing off the world.
The wheels are fall ing off the world.
The wheels are fall ing off the world.
This page shows “Wheels” by Jamie Cullum 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 138 BPM, a comfortable easy-level arrangement perfect for first-time learners.
This arrangement is a great way to get comfortable with extended major chords — your right hand will move between C, C6, and Cmaj7 shapes, which only differ by one or two notes each time, so focus on keeping your hand relaxed and letting just one finger shift while the others stay anchored. Your left hand holds a pedal bass pattern, meaning you'll sit on the root note C for long stretches before moving to F or G — simple, but at 138 BPM you need that hand locked in steady and even so the rhythm doesn't drift. Start hands-separate and slow, especially through the F to F6 to Fmaj shifts where the voicing changes are subtle and easy to fumble. Once you can loop the verse smoothly at around 100 BPM, gradually bring it up to tempo. This is the piece that'll make jazzy major-chord extensions feel like second nature under your fingers.