She Used to Be Mine Waitress Version

She Used To Be Mine As Performed in the Musical "Waitress"

Words and Music by SARA BAREILLES

Moderately slow swing  = 130

 3     4           43      Intro

  

G♭

 

With Pedal

5

      

Verse 1

                  12

    

 

It's not

                 

    

    

sim ple

    

me;

  

That these

to say;

E♭m



shoes

  

     



    

      

and this

 



    

D♭

Most days

a pron,

 

  

  

that

     

place

  

© 2015 Sony/ATV Music Publishing LLC All Rights Reserved



    

   

I don't

  

    

re cog nize

      

and its pa

  

trons

  

have

 

17

        C♭

                ta

21

      

G♭

    

            27

ken

 

It's not

                         

used to be;

2





 

more

  

    

I



  

gave

to know





 

 

     



them.



 

    

Al

than

  



ea sy



  

 



     

though it's true

    



I'm

 D♭

not

        E♭m

  

I was

ne ver

  

© 2015 Sony/ATV Music Publishing LLC All Rights Reserved

    

a ny thing

    at



    

ten tion's

  



G♭/B♭

    

like I

  

sweet

             

cen ter,

 

      38

            

            46

         C♭



but she



  

tries.

 

      

still

 

re

mem ber that girl.

 

on her self.

 

  

  

 

            

   I



32

  



 

She is

  



   

          

    

good

She is



but she lies.

      C♭

  

bro ken

and

 

G♭/B♭

      She's

 

im

per

  

D♭

  

 



 G♭   

Chorus 1



    

 

  

© 2015 Sony/ATV Music Publishing LLC All Rights Reserved



   

E♭m

            She is

   

won't ask



  

fect

for help.

hard

   

   

 

3

52

      

    

                     59

She

is

             

            64

       

4

     



  

pie.





  







 

but she's

kind.

 

       

   



 



She

is

 

   

all

   

She is

She is

mixed up,

   

  

  

gone



© 2015 Sony/ATV Music Publishing LLC All Rights Reserved



    

lone

    

of this

 



D♭

    

E♭m

      C♭

ti ful

 

mes sy

most of the time.

            

    

G♭/B♭ G♭

and

ly



baked

   



 

but she

used

 



  

    



   

in a beau

     

to be

69

         G♭

               

 

mine.

75

            

 

for;

         80

    



   

      



   

     

            

door,

   





and

  



             



D♭

 

     

Some times

life

 

 

       E♭m

     

carves out

 

a

  

per son,





     

       

   

       

Verse 2

and



just



And it's not

 

  

slips

     

 

© 2015 Sony/ATV Music Publishing LLC All Rights Reserved



 

 

   

in

   

makes you

    

be lieve

what I

   

through a

    

  

asked

it's

 

all

back

 



5

85

    

C♭



 

                     90

true;

          

             95

6



 

 

 

  

    

back

 

And



 

now I've



 

      

asked for.

                         



  

what I

give it all

       

     

  

3



  

         for a

 

    

If I'm



 

     

got you.



     

 

   

       est

 

I

 

 

   

chance

 

to start

 

o ver,

© 2015 Sony/ATV Music Publishing LLC All Rights Reserved

  

know

  



    

And you're not

    

 

     E♭m



    

B♭7

hon



G♭

 

    I

     

   

and

 

   



   

re write

 

would

an

       

100

               

en ding

 

G♭           

Chorus 2

          

or

105

    

               re

ckless

       

111

                   learns how

to





C♭

     

two;

      

  

just

 

e

       

 

 

  

   

For the





girl

3

   



she's



  

Who'll get

E♭m

 

 

bruised,

 

   

that I

 

              

nough.

tough en up when

 

   

     

 





 

  

knew,

 

   D♭

 

          

   

© 2015 Sony/ATV Music Publishing LLC All Rights Reserved

hurt,

 

   

and

 

gets



 

    

Who'll be



 

 

             

used

but who

   

    

by a

7

     

  

116

               

 

man who can't

      

121

      

        

     

125

B♭7

         

stron

      

8

 

 

 



G♭

 

scared

  C♭

 

 

 

 

each

  



day,

   

 

 

 

 

  

 

   

ger

 

love,

     

 

 

of the

life

and

   

 

 

 

     

  

 



'til it





 

     

stuck,

and be

            



   

      

then she'll get

that's in

 

   



side

 

 

    fin

'ly

 

© 2015 Sony/ATV Music Publishing LLC All Rights Reserved

her;

re



minds

 

 

  

   

her,

Gro wing

  

   

to

      

129

E♭m

                   fight

      

134

                      

  

     

just



 

That's

140

                    

 

 

a

   

 

 

 

lit tle,

 

to





    

 

bring back



         E♭m/D♭

 

the fi

G♭             

been

gone

 

     

but

   

    

 

 

 

B♭7

 

3

 

 

used

3

 

to be

   



 



 

mine.

 





               

   

 

 

3

re in her eyes;



 

 

 

     

 

 

 

  

 

     

    

© 2015 Sony/ATV Music Publishing LLC All Rights Reserved

C♭

Used

 

 

  

E♭m

 

3

 

to be

   

 

 

mine.

 

     

9

      

3   

146

             

3

           

 

 

 

G♭              

Refrain

 

153

                 

is mes sy

   

but she's

             E♭m

160

              

10

She is



  

all



of this

   



   

 



C♭

  

kind.



  

     

 

   

   

She is

    

  

mized up,



and

 

   



D♭

 

lone ly

 

  

baked

   

     

   

  

in a beau



© 2015 Sony/ATV Music Publishing LLC All Rights Reserved



 





   



She

 

    

 

most of the time.



    E♭m/D♭

   

ti ful



C♭

  

pie.





     

166

    

Rubato

              

She is

 

gone,







       

but she



used



to be



© 2015 Sony/ATV Music Publishing LLC All Rights Reserved

  G♭

    

mine.

 

      

11