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Wake up, kids.
We’ve got the dream ers dis ease.
Age four teen, they got you down on your knees.
So po lite, we’re bus y still say ing please.
Frien e mies, who when you’re down ain’t your friend.
Ev ’ry night we smash their Mer ce des Benz.
First we run and then we laugh ’til we cry.
But (F#m7)when the night is fall ing,
you (Gmaj7)can not find the light,
(A)light.
If you (F#m7)feel your dreams are dy in’,
hold tight.
You’ve got the mu sic in you.
Don’t let go.
You’ve got the (A)mu sic in you.
One dance left.
This world is (A)gon na pull through.
Don’t give up.
You got a (A)rea son to live.
Can’t for get.
We on ly (A)get what we give.
I’m com in’ home, ba by.
You’re tops.
Give it to me now.
This whole damn world
could (G)fall a part.
You’ll be O K,
fol (G)low your heart.
You’re in harm’s way.
I’m (G)right be hind.
Now, say you’re mine.
You’ve got the mu sic in you.
Don’t let go.
You’ve got the (A)mu sic in you.
One dance left.
This world is (A)gon na pull through.
Don’t give up.
You’ve got a (A)rea son to live.
Can’t for get.
We on ly (A)get what we give.
Don’t let go.
I feel the (A)mu sic in you, yo, hey, hey, (Bm)ooh.
Fly
(F#m7)high.
What’s real
can’t die.
You on ly (A)get what you give.
You’re gon na (A)get what you give.
Don’t give up.
Just don’t be (A)a fraid to leave.
(D)Health in sur ance rip off, ly ing (Asus)F.
D.
A., big (A)bank ers buy ing.
(F#m7)Fake com put er crash es din ing, (Bm7)clon ing while they’re (A)mul ti ply ing.
(D)Fash ion shoots with Beck and Han son, (Asus)Court ney Love and (A)Mar ’lyn Man son.
(F#m7)You’re all fakes, run to your man sions.
(Bm7)clon ing while they’re (A)mul ti ply ing.
(Bm7)Come a round, we’ll (A)kick your ass in.
Don’t let go.
One dance left.
Don’t give up.
Can’t for get.
This page shows “You Get What You Give” by New Radicals 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 100 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a fantastic workout for your extended chord vocabulary — you'll move through fifteen different shapes including Bm9, Gmaj9, and Dmaj7, which means your right hand needs to be comfortable stretching beyond basic triads. At 100 BPM the tempo is moderate, but the real challenge is nailing those transitions cleanly, especially moving between the color chords like Am7 and Asus4 where only one note shifts but your fingers want to rebuild from scratch. Start hands-separate: get your left hand's block bass pattern steady and automatic first, then layer in the right-hand voicings. Once you combine them, loop the verse progression slowly until the chord changes feel like muscle memory, not mental math. Watch the spots where you jump from F#m7 to G — that's a quick positional shift that trips people up if you're not anticipating it a beat early. This is the song that'll make extended chords feel like home in your hands, so lean into those jazzy shapes and trust your ears.