關於 time to say goodbye lyrics english ，我們在網路上蒐集到這些相關的討論、資訊與評價

♪J-pop in English Series♪

"Pretender" by Official HIGE DANdism♬
I think the lyrics are pretty different from anything else out there right now. I think it shows a different perspective to the traditional "breakup" song. I can see why this was one of the most popular songs of 2019! Enjoy :)

今日はOfficial髭男dismの「Pretender」を英語で歌ってみました♪ Enjoy!

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曲情報 / SONG INFO
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Official HIGE DANdism / Pretender
Released 2019
Music/Lyrics: Satoshi Fujiwara
English Lyrics: Rebecca Butler Watanabe

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リンク / LINKS
～♪～♪～♪～♪～♪～

■HP⇒ http://BlueEyedUtaUtai.jimdo.com
■Facebook⇒ http://facebook.com/blueeyedutautai
■Twitter⇒ @BlueEyedUtaUtai

～♪～♪～♪～♪～♪～
歌詞／LYRICS
～♪～♪～♪～♪～♪～

When we began our love story
Well, it was obvious for me
As soon as it got good, it’d be a one-man show
Though we are always with each other
In the end, I’m nothing but a spectator

Your cold, indifferent “I’m sorry”
It’s always the same story
Now that I'm used to it, well, it ain’t so bad no more
But this romance with you has slowed, that’s the way it goes
I’ve realized it’s nearing the end now for sure

If only we could have chosen
To meet on a different road and
A different way to have known you
A different way our paths could cross
I wish that I could have found some new
Perspective to tell you I love you
Or a whole new personality, but I know
No matter how I wish, it’s no use, and so

Goodbye, though we tried,
There’s just not meant to be a you and I
It hurts, but it can’t be denied
But still it’s hard to set aside the past
Just touching your hair
I feel the pain so deep inside
But it feels right, but no, goodbye
What am I to you now, babe, and what are you to me?
The answer is a mystery
And I don’t even want to see the facts
If there’s just one thing
Yeah, just one simple thing that I know for sure
It’s that you are beautiful

Some people spew out such nonsense
Talking of love and its logic
But I can’t relate at all, it’s so unfamiliar
Like I’m on a plane and looking down on a darkened town
That I’ve never seen, much less been to ever before

If only we could have chosen
To meet on a different road and
A different way to have known you
A different way our paths could cross
I wish that my heart had been pure enough
To hold on tight when I was gifted love
I wish I could say “I love you” with no responsibility
But this wishing, what good does it do for me?

Goodbye, our endline
Is looming there beyond our hands entwined
And every time we draw it out
The more it hurts to think about a day
You’re not by my side
And that’s a truth that makes me cry
From all the misery inside

グッバイ 君の運命のヒトは僕じゃない
goodbye kimi no unmei no hito wa boku ja nai
辛いけど否めない でも離れ難いのさ
tsurai kedo inamenai demo hanare-gatai no sa
その髪に触れただけで　痛いや いやでも
sono kami ni fureta dake de itai ya iya demo
甘いな いやいや
amai na iya iya
グッバイ それじゃ僕にとって君は何?
goodbye sore ja boku ni totte kimi wa nani?
答えは分からない 分かりたくもないのさ
kotae wa wakaranai wakaritaku mo nai no sa
たったひとつ確かなことがあるとするのならば
tatta hitotsu tashika na koto ga aru to suru no naraba
「君は綺麗だ」
"kimi wa kirei da"

If all this, and all that
If you say it’s just the rules of romance
It’s really not so bad
There are no forevers, no promises
I just know you’re beautiful

https://youtu.be/LE84VVaj-mY

今日はイルカの「なごり雪」を英語で歌ってみました♪
(Lyrics below)

Today's video is an English version of Nagoriyuki (meaning "Lingering Snow" or "Last Snow" or "Unseasonable Snow"), a popular Japanese song from the 1970's. It was originally sung by a male-led group (Kaguyahime), but the cover by female artist Iruka is the one that became most popular, even though the song is sung from a man's perspective.

In the song, a man has to say goodbye to the woman he loves when she has to return to her hometown. The most likely scenario is that she has come to Tokyo for college and they dated, but it could never have been long-term, as she is expected to return home to a suitor.

～♪～♪～♪～♪～♪～
歌詞／LYRICS
～♪～♪～♪～♪～♪～

I was standing next to you as you waited for the train
With my eyes fixed on the clock
And though winter was long gone, the sky was filled with snow
Then you turned to me and with your eyes full of pain
You whispered so soft
“I guess this is the last time I’ll see snow in Tokyo”

Oh, the lingering snow knew to fall on that day
After a season spent dreaming our short time away

*Darling, now that spring is here
You have grown beautiful as can be
So much more than last year, you’re
Beautiful as can be

As the train began to leave, through the window pane
You were looking my way
I could see your lips moving and tears in your eyes
So I cowardly averted my own, too afraid
To see what you would say
Too afraid your lips would form the word “goodbye”

Somehow I couldn’t see that as time ticked along
There would come a day when you would grow up and move on

*Repeat

I stood on the platform after you left that day
Watching the snow as it fell, just to quickly melt away

今　春が来て　君はきれいになった
ima haru ga kite kimi wa kirei ni natta
去年よりずっと　きれいになった
kyonen yori zutto kirei ni natta
去年よりずっと　きれいになった
kyonen yori zutto kirei ni natta
去年よりずっと　きれいになった
kyonen yori zutto kirei ni natta

https://youtu.be/r-rh9sa1VBA

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

《DAWN》
Re:far / 致：遙遠的遺憾
作詞 / Lyricist：aimerrythm
作曲 / Composer：飛内将大
編曲 / Arranger：玉井健二、飛内将大
歌 / Singer：Aimer
翻譯：夏德爾
English Translation:Thaerin

背景 / Background - 始発駅 - あんよ :
https://www.pixiv.net/artworks/72623759

版權聲明:
本頻道不握有任何音樂所有權，亦無任何營利，一切僅為推廣用途。音樂所有權歸原始創作者所有。請支持正版。

Copyright Info:
Be aware this channel is for promotion purposes only without any illegal profit. All music's ownership belongs to the original creators.
Please support the original creator.

すべての権利は正当な所有者/作成者に帰属します。あなたがこの音楽（または画像）の作成者で、この動画に使用されたくない場合はメッセージまたはこのYoutubeチャンネルの概要のメールアドレスにご連絡ください。私はすぐに削除します。

如果你喜歡我的影片，不妨按下喜歡和訂閱，你的支持就是我創作的最大原動力！
If you like my videos, please click like and subscribe! Thx :)

粉絲團隨時獲得最新訊息！
https://www.facebook.com/chschannel/

Check my Facebook page for more information!
https://www.facebook.com/chschannel/

中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=2924824

英文翻譯 / English Translation :
https://www.lyrical-nonsense.com/lyrics/aimer/re-far/

日文歌詞 / Japanese Lyrics :
髪　指　声　まなざし　ぬくもり
なぜかな？　まだすべてが　ここにある

恋しさは　愛を知った
愛しさは　何になれたかな？

「元気でいてね…」「そろそろ行くね」
言葉はいつも　役にはたたない
出会ったことが　間違いだったら
そう　Say a little pray for you and me
そんな唄はもう歌わないと決めた　九月の夜だから
あなたの忘れ方　ねえ　教えて

重ねた頬　手のひら　また声
さよなら　でもすべては　心(ここ)にある

生ぬるい　風が吹いた
まだ少し　夏は続くのかな？

ひと気の消えた改札口で　消えた背中を探し続けていた
過ぎた季節が　もう来ないなら　そう
No more cry and dry my eyes
ただ星が綺麗で　泣かないと決めた　一人の帰り道
涙が止まらない　ねえ　どうして？

「元気でいてね…」　返事はなくて
言葉はいつも　役にはたたない
さよなら　あなた　さよなら　わたし
そう　Say a little pray for you and me
そんな唄はもう歌わないと決めた　九月の夜だから
あなたの忘れ方　ねえ　教えて

中文歌詞 / Chinese Lyrics :
髮絲、手指、聲音與眼神，還有體溫
到底是為什麼呢？這一切，竟然都還留存在這裡

那讓人愛戀的曾經，讓我了解了什麼是愛
而這份愛，在最後到底化成了什麼呢？

「請你保重。」「我差不多該走了。」
然而話語，卻只能吐出這些話，總是派不上用場
若是這份邂逅是一份錯誤，若真是如此
就這樣為你與我，留下小小的祝福吧
我決定不再唱那樣的歌，正因為已經是九月的夜晚
所以，請告訴我忘記你的方法，嘿……告訴我好嗎？

接觸的臉頰，與撫摸臉頰的手心，還有你的聲音
再見了，但這一切都還存在於心中

這裡吹拂著悶熱黏稠的風
而夏天，是不是還會再持續好一陣子呢？

在那個人煙都消失無蹤了的，剪票口，持續地尋找著，那個已經消失的背影
若逝去的季節，已經不會再回來，若真是如此
就請不要再哭泣，擦乾自己的眼淚吧
只因為星斗如此美麗，所以決定不用眼淚去模糊，然而在這孤身一人的返家路途中
卻阻止不了眼淚，告訴我，這到底是為什麼？

「請你好好保重。」這個祝福沒有任何的回覆
話語總是，沒有任何的用處
再見了，我所愛的你；再見了，愛著你的我
那麼，就這樣為你與我，留下小小的祝福吧
但我已經決定，不再唱那樣的歌曲，正因為已經是九月的夜晚
所以，請告訴我忘記你的方式，嘿……誰來告訴我，好嗎？

英文歌詞 / English Lyrics :
Hair… fingers… voice… gaze… warmth…
Somehow every one of them remain here.

My yearnings led to love,
But I wonder what those feelings have managed to become?

“Be well…” “I think I’m gonna go”;
Words never seem to serve any purpose.
That time, back when we met, may have all been a mistake. Yes,
Say a little prayer for you and me.
On this September eve, I’ve resolved never to sing a song like that again,
So please, tell me how I can forget you!

Touching cheeks… palms of hands… thighs… voice…
Even if this is goodbye, every one of them remain here.

A mild wind was blowing.
Does this mean summer will continue on?

At the ticket gate there was no sign of anyone around. You’d vanished, but I searched on and on for a glimpse of you from behind.
The seasons that have passed may never come again. Yes,
No more crying, dry my eyes.
The stars are just so beautiful on this road home I walk alone, swearing I wouldn’t cry.
But the tears just won’t stop… please, can you tell me why?

“Be well…” But there’s no response.
Words never seem to serve any purpose.
Goodbye to you… Goodbye to me…
Yes, say a little prayer for you and me.
On this September eve, I’ve resolved never to sing a song like that again,
So please, tell me how I can forget you!

《DAWN》
Believe Be:leave / 相信：離去
作詞 / Lyricist：aimerrythm
作曲 / Composer：飛内将大
編曲 / Arranger：玉井健二、飛内将大
歌 / Singer：Aimer
翻譯：夏德爾
English Translation:Thaerin

背景 / Background - 君が飛んだ - 雨森ほわ :
https://www.pixiv.net/artworks/71163643

版權聲明:
本頻道不握有任何音樂所有權，亦無任何營利，一切僅為推廣用途。音樂所有權歸原始創作者所有。請支持正版。

Copyright Info:
Be aware this channel is for promotion purposes only without any illegal profit. All music's ownership belongs to the original creators.
Please support the original creator.

すべての権利は正当な所有者/作成者に帰属します。あなたがこの音楽（または画像）の作成者で、この動画に使用されたくない場合はメッセージまたはこのYoutubeチャンネルの概要のメールアドレスにご連絡ください。私はすぐに削除します。

如果你喜歡我的影片，不妨按下喜歡和訂閱，你的支持就是我創作的最大原動力！
If you like my videos, please click like and subscribe! Thx :)

粉絲團隨時獲得最新訊息！
Check my Facebook page for more information!
https://www.facebook.com/chschannel/

中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=2942698

英文翻譯 / English Translation :
https://www.lyrical-nonsense.com/lyrics/aimer/believe-be-leave/

日文歌詞 / Japanese Lyrics :
遠ざかる南へのポラリス　消えないでよ六等星
私まるで星屑ビーナス　寂しくて眠れない夜

壁の写真　錆びたフレーム　空の花瓶　あの日のままで
捨てられない　古びたテディベア　擦り切れたネイビーのコート

I believe in you　何度も言う　越えられない　あの日のバッドエンド
泣き虫は　きっと直らない　もう少しそばにいたかった
I’m needing you！　I’m needing you！　叫んだって　変わらない
A needle in you？　　ドアは閉まる　…ちょっとWait！　Wait yet！

“Believe Be:leave”　まだ夢見ていたんだ
So I dreamt？　理由なんてなしで
I believe but you leave　さよならさえ　言えなかった
Still I believe？　ビリビリに引き裂いて　I lost your heart

遠ざかる南へのポラリス　消えないでよ六等星
私まるで星屑ビーナス　寂しくて眠れない夜

悲しいよ　寂しいよ　壊れたハート　あの日のままで
抱きしめた　大事なテディベア　引き出しに閉じ込めた涙

I believe in you　何度も言う　変えられない　あの日のバッドエンド
Like my mom said　きっと帰らない　あと少しそばにいたかった
I’m needing you！　I’m needing you！　叫んだって　届かない
A needle in you？　　時が止まる　…ちょっとWait！　Wait yet！

“Believe Be:leave”　愛された気がしてたんだ
So I dreamt？　理由なんてなくて
I believe but you leave　幼さで拭えなかった
Still I believe？　ビリビリに引き裂いて　I lost my heart

“Believe Be:leave”　まだ夢見ていたんだ
So I dreamt？　理由なんてなしで
I believe but you leave　さよならさえ　言えなかった
Still I believe？　ビリビリに引き裂いて

Believe！　I believe　愛された気がしてたんだ
So I dreamt？　理由なんてなくて
I believe but you leave　幼さで拭えなかった
Still I believe？　ビリビリに引き裂いて　I lost your heart

遠ざかる南へのポラリス　消えないでよ六等星
私まるで星屑ビーナス　寂しくて眠れない夜…

中文歌詞 / Chinese Lyrics :
指北星正朝著南方漸漸地遠去，六等星啊請還不要消失
我就像那渺小的金星，落在這寂寞得無法入睡的夜晚——

牆上的照片、生鏽的相框，還有空無一物的花瓶，都維持著那天的模樣
那無法丟棄而堆滿歲月的泰迪熊，以及那磨破的海軍外套，也依舊如此

我相信你。對著那天無法釋懷的Bad End，無論要說多少多少次
愛哭鬼的我，肯定是無從改變了吧，多麼想要你待在我身旁久一些
我需要你！現在就需要你！然而就算放聲呼喊，也無從改變了
我是否是你心中的痛？關上的門漸漸抹去你的身影……等一下！再等一下啊！

「相信，你的離去。」但我仍然盼望著你的身影
所以我才懷著這樣的夢嗎？這根本就沒有什麼理由
我相信你，但你卻走了，就連一句再見，也來不及讓我傾訴
我是否還相信呢？我的信任像是被撕裂的信紙，而我，也迷失了你的真心

指北星朝著南方漸行漸遠了，六等星啊請還不要消失
我就像那片星塵中的金星，落在這寂寞得失眠的夜晚——

多麼悲傷、多麼寂寞，碎掉的心，仍然維持著那天的模樣
如今也只能緊抱著那隻重要的泰迪熊，忽視著被關進了抽屜的眼淚

我相信你。對著那天無法改變的Bad End，無論要說多少多少次
就像母親所說的，那些日子肯定不會再回來，多麼希望你能再多陪伴我一些時間
我不能沒有你！現在不能沒有你！然而再怎麼呼喊，你也不可能聽見了
我是否是你心中的痛呢？你我的時間從那天開始便停止了……等、等等！再等等啊！

「相信你的我，已經不在了。」我總覺得自己曾經感受過你的愛
所以我才看見那樣的夢嗎？那根本就沒有什麼理由
我相信著你對我的愛，但你卻走遠了，年幼的我根本無從諒解
那麼我是否還相信你會回來呢？我就像是張被撕裂的信紙，我，迷失了我的真心

「相信，然後釋懷吧。」我還盼望你能在我的身旁
所以我仍然夢想著你的歸來？這根本沒有什麼理由
我相信你會回來，但你卻一去不反了，就連一句道別我也沒能脫口
那麼我是否還相信呢？我的心就像在送出前被撕碎的信紙——

相信！我相信！我總覺得我感覺過你的愛啊！
所以我才會如此夢想嗎？相信你的愛真的不需要什麼理由
我相信你的愛，但你卻不再回來，年幼的我根本無法釋懷
那麼現在的我是否還相信著？就像是沒有了收件人的信紙，我，永遠失去了你的真心

指北星朝著南方遠去了，六等星請還不要離去
我就是迷失在星河裡的渺小金星，迷失在這寂寞得無法入睡的夜晚……

英文歌詞 / English Lyrics :
Pictures on the wall… rusted frames… an empty vase… just as they were that day.
A old looking teddy bear I just can’t throw away… A worn out navy coat…

I believe in you, I say again and again – the bad end from that day I just can’t get past.
My crybaby tendencies will surely never change, but I wish I could have stayed next to you a bit longer…

I’m needing you! I’m needing you! But even if I scream, nothing will change;
A needle in you? The door closes. … ah, wait a second… Wait! Wait yet!

“Believe Be:leave” Ahh, I was still living a dream…
So I dreamt? Without any real reason,
I believe, but you leave; I wasn’t even able to say goodbye…
Still I believe? And it just tears me apart. I lost your heart…

I’m sad. I’m lonely. My broken heart is just as it was that day.
That precious teddy bear I used to hold… tears shut away in a drawer…

I believe in you, I say again and again – the bad end from that day I can never change.
Like my mom said, you’ll never come back, but I wish I could have stayed next to you a bit longer…

I’m needing you! I’m needing you! But even if I scream, you won’t hear it.
A needle in you? Time freezes. … ah, wait a second… Wait! Wait yet!

“Believe Be:leave” I felt like I was once loved…
So I dreamt? There’s no particular reason,
I believe, but you leave; being young didn’t work as an excuse…
Still I believe? And it just tears me apart. I lost my heart…

“Believe Be:leave” Ahh, I was still living a dream…
So I dreamt? Without any real reason,
I believe, but you leave; I wasn’t even able to say goodbye…
Still I believe? And it just tears me apart. I lost your heart…

“Believe Be: leave” I felt like I was once loved…
So I dreamt? There’s no particular reason,
I believe, but you leave; being young didn’t work as an excuse…
Still I believe? And it just tears me apart. I lost my heart…

今日はOfficial髭男dismの「Pretender」を英語で歌ってみました♪ Enjoy!

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曲情報 / SONG INFO
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Official髭男dism / Pretender
2019年リリース
作詞曲: 藤原聡
英語詞：渡辺レベッカ

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リンク / LINKS
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■HP⇒ http://BlueEyedUtaUtai.jimdo.com
■Facebook⇒ http://facebook.com/blueeyedutautai
■Twitter⇒ @BlueEyedUtaUtai

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歌詞／LYRICS
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When we began our love story
Well, it was obvious for me
As soon as it got good, it’d be a one-man show
Though we are always with each other
In the end, I’m nothing but a spectator

Your cold, indifferent “I’m sorry”
It’s always the same story
Now that I'm used to it, well, it ain’t so bad no more
But this romance with you has slowed, that’s the way it goes
I’ve realized it’s nearing the end now for sure

If only we could have chosen
To meet on a different road and
A different way to have known you
A different way our paths could cross
I wish that I could have found some new
Perspective to tell you I love you
Or a whole new personality, but I know
No matter how I wish, it’s no use, and so

Goodbye, though we tried,
There’s just not meant to be a you and I
It hurts, but it can’t be denied
But still it’s hard to set aside the past
Just touching your hair
I feel the pain so deep inside
But it feels right, but no, goodbye
What am I to you now, babe, and what are you to me?
The answer is a mystery
And I don’t even want to see the facts
If there’s just one thing
Yeah, just one simple thing that I know for sure
It’s that you are beautiful

Some people spew out such nonsense
Talking of love and its logic
But I can’t relate at all, it’s so unfamiliar
Like I’m on a plane and looking down on a darkened town
That I’ve never seen, much less been to ever before

If only we could have chosen
To meet on a different road and
A different way to have known you
A different way our paths could cross
I wish that my heart had been pure enough
To hold on tight when I was gifted love
I wish I could say “I love you” with no responsibility
But this wishing, what good does it do for me?

Goodbye, our endline
Is looming there beyond our hands entwined
And every time we draw it out
The more it hurts to think about a day
You’re not by my side
And that’s a truth that makes me cry
From all the misery inside

グッバイ 君の運命のヒトは僕じゃない
goodbye kimi no unmei no hito wa boku ja nai
辛いけど否めない でも離れ難いのさ
tsurai kedo inamenai demo hanare-gatai no sa
その髪に触れただけで　痛いや いやでも
sono kami ni fureta dake de itai ya iya demo
甘いな いやいや
amai na iya iya
グッバイ それじゃ僕にとって君は何?
goodbye sore ja boku ni totte kimi wa nani?
答えは分からない 分かりたくもないのさ
kotae wa wakaranai wakaritaku mo nai no sa
たったひとつ確かなことがあるとするのならば
tatta hitotsu tashika na koto ga aru to suru no naraba
「君は綺麗だ」
"kimi wa kirei da"

If all this, and all that
If you say it’s just the rules of romance
It’s really not so bad
There are no forevers, no promises
I just know you’re beautiful