Chords for Giveon "LIKE I WANT YOU" Official Lyrics & Meaning | Verified
Tempo:
60.45 bpm
Chords used:
Em
B
F#
E
G#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
A lot of times they're coming from my personal experiences, but sometimes these songs are coming
from one of my best friends' experiences.
So when I wrote, Like I Want You from a friend's
experience, X's thought that I was writing songs about me missing them.
And I had to tell him,
like, yo, you got the wrong idea.
Maybe I should put it in a description, not about me.
And that's
probably what's going to have to happen.
[B] [Em]
[F#] I'm a big fan of music just in general, so just
in these producers.
So I was just in there like, yo, this is crazy.
So Jahan was in there.
He
started the vibe.
And River and Seven was there too.
So it was just, it was a vibe the whole way
through.
I was lucky enough to [N] have all those producers in the first place to be able to keep
it simple.
We talked first, because a lot of our sessions, it comes with conversations first,
before we even think lyrics, because we want the songs to sound like dialogue and like a real
conversation.
I draw a lot of inspiration from Frank Ocean.
The way he approaches his worlds is,
I think he draws a lot of film inspiration.
So I wanted to treat just the whole project
and every song like it was just a soundtrack to whatever was happening at that time.
[F] Trying your hardest to be over it, but in reality, you still like reminiscing on it all.
Like I'm pretty sure anyone who miss someone wish they could just like turn that shit off.
That's where stuck comes from.
Stuck being like, even if I wanted to stop, I couldn't.
[E]
[B] I have this feeling that I miss you [G#] and I'm reminiscing about you.
Do you also feel that way?
Are you lying like I'm lying?
[E] [A] [Em] [N] That's the perfect way to conclude the verse.
Because it's like, all right, I'm going to just
go back to what this song is about in the first place.
Just me, like pretending.
And that's the
way I like to structure songs in general.
It's kind of academic.
So it's like in college, when
you working on a paper, it kind of has to all connect.
The first line has to be the intro,
like the thesis.
And the last sentence has to sum it all up.
So that's the way I approach writing too.
This song isn't even about bad blood.
There's no bad blood between the two.
It's just like
someone's lying and pretending that they're good.
So when you see that person, you really go through
those emotions, but you don't let it be known.
As soon as we cut it, I was like, yeah, that's going to be the one.
Because the whole, initially,
it's like the verse is like you calm, you pretend and you chill.
And then when you get to the hook,
it's supposed to be like, yo, I can't hold that in no more.
That's why it's supposed to feel
big, like a moment, like a cry out, like a big sigh.
I said what I had to say.
Now, be honest with me and tell me, how exactly are you feeling about it?
Trying to get the confirmation that it's over with.
It's like that closure that you're seeking.
That's what the second verse is, I think.
It's the closure.
[F#] [D#] You're handling this really well.
You know what I mean?
And that could make someone feel even
worse, let alone the breakup.
But if we break up and you're not affected by it at all, that's almost
worse than the breakup itself.
[A]
It's another one of those conclusion statements, just ending the verse out with just like,
you know what?
It is what it is.
[C#] [G#]
[N]
It's kind of manipulative in [Em] a way.
But that's how people do guilt trip a lot.
I [N] prioritize the compliments.
When people are like, I like your voice.
I'm like, oh,
okay.
That's cool.
That's a compliment is cool, but that's still subjective.
And that's like,
it could change person to person.
But when someone says, you took the words right out
of
from one of my best friends' experiences.
So when I wrote, Like I Want You from a friend's
experience, X's thought that I was writing songs about me missing them.
And I had to tell him,
like, yo, you got the wrong idea.
Maybe I should put it in a description, not about me.
And that's
probably what's going to have to happen.
[B] [Em]
[F#] I'm a big fan of music just in general, so just
in these producers.
So I was just in there like, yo, this is crazy.
So Jahan was in there.
He
started the vibe.
And River and Seven was there too.
So it was just, it was a vibe the whole way
through.
I was lucky enough to [N] have all those producers in the first place to be able to keep
it simple.
We talked first, because a lot of our sessions, it comes with conversations first,
before we even think lyrics, because we want the songs to sound like dialogue and like a real
conversation.
I draw a lot of inspiration from Frank Ocean.
The way he approaches his worlds is,
I think he draws a lot of film inspiration.
So I wanted to treat just the whole project
and every song like it was just a soundtrack to whatever was happening at that time.
[F] Trying your hardest to be over it, but in reality, you still like reminiscing on it all.
Like I'm pretty sure anyone who miss someone wish they could just like turn that shit off.
That's where stuck comes from.
Stuck being like, even if I wanted to stop, I couldn't.
[E]
[B] I have this feeling that I miss you [G#] and I'm reminiscing about you.
Do you also feel that way?
Are you lying like I'm lying?
[E] [A] [Em] [N] That's the perfect way to conclude the verse.
Because it's like, all right, I'm going to just
go back to what this song is about in the first place.
Just me, like pretending.
And that's the
way I like to structure songs in general.
It's kind of academic.
So it's like in college, when
you working on a paper, it kind of has to all connect.
The first line has to be the intro,
like the thesis.
And the last sentence has to sum it all up.
So that's the way I approach writing too.
This song isn't even about bad blood.
There's no bad blood between the two.
It's just like
someone's lying and pretending that they're good.
So when you see that person, you really go through
those emotions, but you don't let it be known.
As soon as we cut it, I was like, yeah, that's going to be the one.
Because the whole, initially,
it's like the verse is like you calm, you pretend and you chill.
And then when you get to the hook,
it's supposed to be like, yo, I can't hold that in no more.
That's why it's supposed to feel
big, like a moment, like a cry out, like a big sigh.
I said what I had to say.
Now, be honest with me and tell me, how exactly are you feeling about it?
Trying to get the confirmation that it's over with.
It's like that closure that you're seeking.
That's what the second verse is, I think.
It's the closure.
[F#] [D#] You're handling this really well.
You know what I mean?
And that could make someone feel even
worse, let alone the breakup.
But if we break up and you're not affected by it at all, that's almost
worse than the breakup itself.
[A]
It's another one of those conclusion statements, just ending the verse out with just like,
you know what?
It is what it is.
[C#] [G#]
[N]
It's kind of manipulative in [Em] a way.
But that's how people do guilt trip a lot.
I [N] prioritize the compliments.
When people are like, I like your voice.
I'm like, oh,
okay.
That's cool.
That's a compliment is cool, but that's still subjective.
And that's like,
it could change person to person.
But when someone says, you took the words right out
of
Key:
Em
B
F#
E
G#
Em
B
F#
A lot of times they're coming from my personal experiences, but sometimes these songs are coming
from one of my best friends' experiences.
So when I wrote, Like I Want You from a friend's
experience, X's thought that I was writing songs about me missing them.
And I had to tell him,
like, yo, you got the wrong idea.
Maybe I should put it in a description, not about me.
And that's
probably what's going to have to happen.
_ [B] _ _ [Em] _ _
[F#] I'm a big fan of music just in general, so just
in these producers.
So I was just in there like, yo, this is crazy.
So Jahan was in there.
He
started the vibe.
And River and Seven was there too.
So it was just, it was a vibe the whole way
through.
I was lucky enough to [N] have all those producers in the first place to be able to keep
it simple.
We talked first, because a lot of our sessions, it comes with conversations first,
before we even think lyrics, because we want the songs to sound like dialogue and like a real
conversation.
_ _ _ _ I draw a lot of inspiration from Frank Ocean.
The way he approaches his worlds is,
I think he draws a lot of film inspiration.
So I wanted to treat just the whole project
and every song like it was just a soundtrack to whatever was happening at that time.
_ _ _ _ [F] Trying your hardest to be over it, but in reality, you still like reminiscing on it all.
Like I'm pretty sure anyone who miss someone wish they could just like turn that shit off.
That's where stuck comes from.
Stuck being like, even if I wanted to stop, I couldn't.
[E] _ _ _
[B] _ I have this feeling that I miss you [G#] and I'm reminiscing about you.
Do you also feel that way?
Are you lying like I'm lying?
_ [E] _ [A] _ _ [Em] _ [N] That's the perfect way to conclude the verse.
Because it's like, all right, I'm going to just
go back to what this song is about in the first place.
Just me, like pretending.
And that's the
way I like to structure songs in general.
It's kind of academic.
So it's like in college, when
you working on a paper, it kind of has to all connect.
The first line has to be the intro,
like the thesis.
And the last sentence has to sum it all up.
So that's the way I approach writing too. _ _ _ _
_ _ _ _ _ _ _ _
This song isn't even about bad blood.
There's no bad blood between the two.
It's just like
someone's lying and pretending that they're good.
So when you see that person, you really go through
those emotions, but you don't let it be known. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ As soon as we cut it, I was like, yeah, that's going to be the one.
Because the whole, initially,
it's like the verse is like you calm, you pretend and you chill.
And then when you get to the hook,
it's supposed to be like, yo, I can't hold that in no more.
That's why it's supposed to feel
big, like a moment, like a cry out, like a big sigh. _ _ _ _
_ I said what I had to say.
Now, be honest with me and tell me, how exactly are you feeling about it?
Trying to get the confirmation that it's over with.
It's like that closure that you're seeking.
That's what the second verse is, I think.
It's the closure.
[F#] _ _ _ [D#] You're handling this really well.
You know what I mean?
And that could make someone feel even
worse, let alone the breakup.
But if we break up and you're not affected by it at all, that's almost
worse than the breakup itself.
[A] _
_ _ _ _ _ _ _ _
_ _ It's another one of those conclusion statements, just ending the verse out with just like,
you know what?
It is what it is.
[C#] _ _ [G#] _ _ _
_ _ _ [N] _ _ _ _ _
It's kind of manipulative in [Em] a way.
But that's how people do guilt trip a lot.
I [N] prioritize the compliments.
When people are like, I like your voice.
I'm like, oh,
okay.
That's cool.
That's a compliment is cool, but that's still subjective.
And that's like,
it could change person to person.
But when someone says, you took the words right out
of
from one of my best friends' experiences.
So when I wrote, Like I Want You from a friend's
experience, X's thought that I was writing songs about me missing them.
And I had to tell him,
like, yo, you got the wrong idea.
Maybe I should put it in a description, not about me.
And that's
probably what's going to have to happen.
_ [B] _ _ [Em] _ _
[F#] I'm a big fan of music just in general, so just
in these producers.
So I was just in there like, yo, this is crazy.
So Jahan was in there.
He
started the vibe.
And River and Seven was there too.
So it was just, it was a vibe the whole way
through.
I was lucky enough to [N] have all those producers in the first place to be able to keep
it simple.
We talked first, because a lot of our sessions, it comes with conversations first,
before we even think lyrics, because we want the songs to sound like dialogue and like a real
conversation.
_ _ _ _ I draw a lot of inspiration from Frank Ocean.
The way he approaches his worlds is,
I think he draws a lot of film inspiration.
So I wanted to treat just the whole project
and every song like it was just a soundtrack to whatever was happening at that time.
_ _ _ _ [F] Trying your hardest to be over it, but in reality, you still like reminiscing on it all.
Like I'm pretty sure anyone who miss someone wish they could just like turn that shit off.
That's where stuck comes from.
Stuck being like, even if I wanted to stop, I couldn't.
[E] _ _ _
[B] _ I have this feeling that I miss you [G#] and I'm reminiscing about you.
Do you also feel that way?
Are you lying like I'm lying?
_ [E] _ [A] _ _ [Em] _ [N] That's the perfect way to conclude the verse.
Because it's like, all right, I'm going to just
go back to what this song is about in the first place.
Just me, like pretending.
And that's the
way I like to structure songs in general.
It's kind of academic.
So it's like in college, when
you working on a paper, it kind of has to all connect.
The first line has to be the intro,
like the thesis.
And the last sentence has to sum it all up.
So that's the way I approach writing too. _ _ _ _
_ _ _ _ _ _ _ _
This song isn't even about bad blood.
There's no bad blood between the two.
It's just like
someone's lying and pretending that they're good.
So when you see that person, you really go through
those emotions, but you don't let it be known. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ As soon as we cut it, I was like, yeah, that's going to be the one.
Because the whole, initially,
it's like the verse is like you calm, you pretend and you chill.
And then when you get to the hook,
it's supposed to be like, yo, I can't hold that in no more.
That's why it's supposed to feel
big, like a moment, like a cry out, like a big sigh. _ _ _ _
_ I said what I had to say.
Now, be honest with me and tell me, how exactly are you feeling about it?
Trying to get the confirmation that it's over with.
It's like that closure that you're seeking.
That's what the second verse is, I think.
It's the closure.
[F#] _ _ _ [D#] You're handling this really well.
You know what I mean?
And that could make someone feel even
worse, let alone the breakup.
But if we break up and you're not affected by it at all, that's almost
worse than the breakup itself.
[A] _
_ _ _ _ _ _ _ _
_ _ It's another one of those conclusion statements, just ending the verse out with just like,
you know what?
It is what it is.
[C#] _ _ [G#] _ _ _
_ _ _ [N] _ _ _ _ _
It's kind of manipulative in [Em] a way.
But that's how people do guilt trip a lot.
I [N] prioritize the compliments.
When people are like, I like your voice.
I'm like, oh,
okay.
That's cool.
That's a compliment is cool, but that's still subjective.
And that's like,
it could change person to person.
But when someone says, you took the words right out
of