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T.M.Revolution · Rurouni Kenshin · Rurouni Kenshin ED 3
Tap words in the lyrics for meaning, then use Practice when the verse is in your ears.
Synced lyrics
hitori de wa tooi ashita o
Alone, this distant tomorrow —
'Alone-with [topic], far tomorrow [obj].' 独りでは ('on one's own') sets up the contrast — the speaker can't manage what comes next without someone.
Heart of Sword is the third ending theme of Rurouni Kenshin (1997). T.M.Revolution's restless rhythm and Takanori Nishikawa's strained delivery turn an apparent love song into a samurai-anime soundtrack about emotional collisions.
yoake no mama de koesou de
feels like we might cross it stuck at dawn —
'Dawn of state-with cross-seems.' 〜のままで = 'in the unchanging state of (X)'. 〜そう attached to a verb i-stem = 'looks like (X) is about to happen'.
butsukatte ikya kokeru omoi yo
if we keep crashing into each other, it's a tumbling kind of love.
'Crash-into-going-if, falls-flat feelings [emph].' 〜ていきゃ is a heavy contraction of 〜ていけば (conditional). コケる is informal — like English 'flop / take a tumble'.
konya mo mata surechigai
Tonight too, we miss each other again.
'Tonight also again pass-each-other.' すれ違い is a key word — two people in motion who don't connect. The song's central image.
sanzan sugite doryoku no ato mo
After things went too miserably, even the trace of effort —
'Disaster-too-much-and, effort of trace even.' 散々 is an emphatic 'utterly bad / wretched'. Sentence trails into v6.
nakunaru kekka only no tsunawatari
vanish — a tightrope walked for the result alone.
'Disappear, result-only of tightrope.' 綱渡り literally 'rope crossing' — high-wire performance, also figurative for 'living on the edge'.
yaru dake son suru yo na mainichi wa
These days, you only lose out for trying —
'Do-only lose-out [emph], every-day [topic].' やるだけ損する is an idiom: 'the more you do, the more you lose'. よな adds rough male assertion.
hasu ni kamaeteta hou koso raku ni naru
Staying cynical about it — that's actually the easier way.
'Diagonally take-stance way [emph] becomes-easy.' 斜に構える is an idiom from kendo: 'to hold the sword diagonally / take a non-committal posture' = 'to be aloof / cynical'. こそ singles it out: 'precisely THAT is what's easier'.
atsukute tsurai jibun o kakushite mijikai jidai o ikiteru
Hiding our hot, painful selves, we live through this short era.
'Hot-and-painful self [obj] hiding, short era [obj] are-living.' 〜くて links two i-adjectives. 短い時代 implicitly references the Meiji era (Rurouni Kenshin's setting).
hitori de wa tooi ashita o
Alone, this distant tomorrow —
'Alone-with [topic], far tomorrow [obj].' 独りでは ('on one's own') sets up the contrast — the speaker can't manage what comes next without someone.
Heart of Sword is the third ending theme of Rurouni Kenshin (1997). T.M.Revolution's restless rhythm and Takanori Nishikawa's strained delivery turn an apparent love song into a samurai-anime soundtrack about emotional collisions.
yoake no mama de koesou de
feels like we might cross it stuck at dawn —
'Dawn of state-with cross-seems.' 〜のままで = 'in the unchanging state of (X)'. 〜そう attached to a verb i-stem = 'looks like (X) is about to happen'.
hottokeba hashiru omoi yo
Left alone, this feeling races on its own.
'Leave-alone-if, run feelings [emph].' 放っとく ('leave alone') is the colloquial collapse of 放っておく. 〜ば is the conditional.
yume mo mata surechigai
Dreams, too, miss each other again.
'Dream also again pass-each-other.' Mirror of v4 with 今夜 swapped for 夢 — even the dreams don't align.
kanpeki to chau jinsei no shuushi
Life's balance sheet isn't perfect.
'Perfection with-differs life of balance.' とちゃう is a casual / Kansai-flavoured contraction of とは違う ('is different from / isn't'). 収支 is borrowed from accounting.
pura mai zero da nante ba honto kana
"Plus-minus zero" they say — but is that really true?
'Plus-minus zero is-saying-things-like, really I-wonder?' プラマイゼロ is shorthand for プラスマイナスゼロ — colloquial 'breaks even'. ば intensifies the なんて exasperation.
shinu made ni tsukai kiru un no kazu
The amount of luck I'll burn through before I die —
'Die until use-up luck of count.' 〜きる as a verb suffix on i-stems = 'do (X) thoroughly / completely'. 死ぬまでに = 'by the time one dies'.
semete jibun de dashiire o sasete
— at least let me make the deposits and withdrawals myself.
'At-least self-by, take-in-and-out [obj] let-me-do.' 出し入れ extends the v12 banking metaphor — life as an account. The causative 〜させて with implied ください = 'please let me'.
wakatcha inai kimi nara dou ni demo rikutsu o kaete ii noni
You don't get it — you could twist the logic any way you like, but...
'Understand-not, you if-it's-the-case, however logic [obj] change-OK although.' 〜ていい = 'it's OK to (X)'; のに = 'although' with frustrated nuance.
nando kimi ni ketsumazuite mo
No matter how many times I trip over you,
'How-many-times you on stumble-even-if.' 蹴つまづく blends 蹴る (kick) with つまづく (stumble) — to trip on something, almost kicking it. Used metaphorically for relationship missteps.
modotte kichau aijou ni
this affection just ends up coming back —
'Come-back-end-up affection to.' 〜ちゃう (contraction of 〜てしまう) carries 'unintended / regretful' completion: 'to wind up doing X, despite oneself'.
shinji kaneru utare zuyosa yo
an unbelievable kind of resilience.
'Believe-cannot get-hit-strength [emph].' 〜かねる on a verb stem = 'find it difficult to / cannot bring oneself to (X)'. 打たれ強い is a sports/idiom adjective for someone who keeps standing after blows.
konya mo soutou nemurenai
Tonight too, I really can't sleep.
'Tonight also considerably can't-sleep.' 相当 is a formal 'considerably'; written in katakana ソートー it lands as casually exasperated.
nando nankai kurikaeshite mo
However many times it repeats,
'How-many-times how-many-times repeat-even-if.' 何度 + 何回 stack — both mean 'how many times' but doubled for rhythmic emphasis.
modotte kichau ai dakara
because it's a love that ends up coming back —
'Come-back-end-up love because.' Variant of v18 — 愛情 dropped to bare 愛 ('love'), tighter and more direct.
butsukatte iku kesenu omoi o
Feelings I can't erase, that just keep crashing into things —
'Crash-into-go cannot-erase feelings [obj].' 〜ぬ is the classical/literary negative ending = ない. 消せぬ想い is more poetic than 消せない想い.
semeru hou ga sujichigai
blaming them is the wrong target.
'Blame side [subj] off-base.' 筋違い literally 'wrong tendon / wrong line' — used for 'misdirected criticism' or 'pulled muscle'. The idiom: 'you've got the wrong target'.
hitori de wa tooi ashita o
Alone, this distant tomorrow —
'Alone-with [topic], far tomorrow [obj].' 独りでは ('on one's own') sets up the contrast — the speaker can't manage what comes next without someone.
Heart of Sword is the third ending theme of Rurouni Kenshin (1997). T.M.Revolution's restless rhythm and Takanori Nishikawa's strained delivery turn an apparent love song into a samurai-anime soundtrack about emotional collisions.
yoake no mama de koete yuku
Stuck at dawn, we cross on through —
'Dawn of state-with cross-go.' Same opening as v2 but the verb shifts from 越えそうで ('about to cross') to 越えてゆく ('actually crossing on') — the song's resolution.
aishou yori mo fukai futari wa
two people deeper than mere compatibility —
'Compatibility than-more deep two-people [topic].' よりも is 'more than' (comparative). 相性 specifically describes interpersonal chemistry.
surechigatte kamawanai
even if we miss each other, it's all right.
'Pass-each-other-and not-mind.' 〜てもかまわない (here with the も implied through context) = 'it's OK even if (X)'. The song's quiet acceptance after all the friction.
The song lands here: after all the missed connections (すれ違い) and crashes (ブツかる), the speaker concludes that two people deep enough together don't need perfect alignment. A grown-up resolution rare in 90s J-rock.