お先に失礼します。 Osakini Shitsurei Shimasu

Overpacked schedule management.

A clipped noun phrase with no verb. It sounds administrative, which fits the overwork theme immediately.

The one exciting Sunday.

唯一 means only or sole. It emphasizes scarcity.

I want to go out, I want to go all in.

カマす is slangy and forceful: to go hard, pull something off loudly, or make a strong move.

I still do not know where the pitfalls are.

未だ means still / not yet. 落とし穴 literally means pitfall or trap.

When is it okay? A DM comes in.

DM makes the scene explicitly contemporary. The line is clipped enough to feel like message language.

It’s okay! Effort has nothing to do with it.

無縁 literally means having no connection to something. The line is very blunt.

Ah, lucky happy Sunday.

This line is bright on the surface, but it is still built from English cheer phrases rather than stable description.

Feeling each other out, thanks for the shared table.

探り合う means feeling each other out or probing each other.

Eyes meet; from here on, it is a showdown.

勝負 means contest, match, or showdown. It makes the social situation sound competitive.

“Something like relativity theory? I don’t know.”

なんて is dismissive here: "something like relativity theory..."

I’m standing up.

A simple action line. Standing up becomes the signal that the speaker is done.

Excuse me, I’ll be leaving first.

お先に失礼します is the standard polite phrase for leaving before others, especially in workplaces. The whole song depends on reusing that routine phrase in a different tone.

Sorry, sorry, I’m sorry, I know now.

The English apology is stylized and chant-like rather than natural everyday speech.

Let’s just run away.

The chorus names escape directly instead of patience or negotiation.

Sorry, sorry, I’m sorry, I know now.

Repeating the same English line makes it feel more like a hook than a sincere apology.

Let’s just run away.

Again the answer offered is simply leaving.

Doing the little bow-bow routine, because adults call that manners.

ペコペコ evokes repeated bowing or submissive apologizing. The line is mocking.

If I bow even more, are you going to keep treating me like a child?

子どもって見る means to see or treat someone as a child.

Hey, you’re acting spoiled, aren’t you, like candy.

甘ったれる means acting spoiled or dependent. The candy comparison keeps the wording bright and sarcastic.

That oversized attitude makes me want to throw a punch. (Punch)

ベンティ borrows the coffee-size word to mean something absurdly oversized.

The thrill is too much the whole point, more than anything.

醍醐味 means the real pleasure or best part. 〜過ぎてて means "being too much..."

Unlucky, and the killing intent is obvious, you there.

殺気 means an atmosphere of violent or hostile intent. It is much stronger than plain tension.

A huge release!

大解放 means big release or liberation. The line is more exclamation than sentence.

Most of it is vague anyway.

曖昧 means vague or ambiguous. The short line sounds slogan-like.

Substitute, greatness, versus bye-bye.

This line is mostly sound-play. The words are chosen as much for rhythm as for stable sentence meaning.

Day by day, riding the vibe, getting ahead, surfing ahead, wave-riding journey.

Another line driven by sound and momentum more than by normal sentence structure.

Isn’t that a step up?

ちゃう? is a casual Kansai-flavored "isn't it?" or "won't it?"

I’ll end up brushing it up.

しちゃう is colloquial for してしまう. Here it sounds light and energetic, not regretful.

With the world as backdrop, from the core of my life, a clear rap.

A very compressed performance line. The phrasing is showy rather than conversational.

I’ll do anything. ♡

Using polite ます in this odd shape is deliberate comic mismatch. It sounds mock-polite.

Head bobbing in bows, smiles are the code of conduct.

流儀 means way of doing things, style, or code.

A drinking party I absolutely cannot fit into.

The repeated negative sound is expressive rather than formal written grammar. It emphasizes refusal to fit in.

“Scholarship-student vision: let’s rise to the top.”

Another slogan-like quoted line rather than ordinary speech.

I’m standing up.

The same action cue returns: standing up means exiting the whole situation.

Excuse me, I’ll be leaving first.

By now the formula phrase has clearly been repurposed as an exit slogan.

Sorry, sorry, I’m sorry, I know now.

The same English apology returns as a repeated hook.

Let’s just run away.

Again the chorus chooses leaving over adapting.

Sorry, sorry, I’m sorry, I know now.

At this point the repeated apology sounds more like a chant than actual remorse.

Let’s just run away.

The line keeps giving the same answer to the pressure built up earlier.

Doing the little bow-bow routine, because adults call that manners.

The refrain now folds the bowing-language directly into the chorus shape.

If I bow even more, are you going to keep treating me like a child?

The line returns to the same complaint about being treated as childish despite all the performed politeness.

Sorry, sorry, I’m sorry, I know now.

The line is repeated again without trying to sound more sincere.

Let’s just run away.

The exit line stays unchanged right to the end.

Sorry, sorry, I’m sorry, I know now.

The repetition is deliberately excessive. That excess is part of the song's style.

Let’s just run away.

Repeated one more time, the line becomes almost pure chant.

Doing the little bow-bow routine, because adults call that manners.

The final return keeps the critique focused on ritualized bowing and "adult" behavior.

If I bow even more, are you going to keep treating me like a child?

The song ends on the same accusation instead of resolving it.