longing

Extra-cut risky feeling, play-of heart hand-into-put, surely

飛び切り ('jump-cut' = extra / extreme) is the prefix for 'absolutely the most.' 手に入れる ('put into hand' = obtain / acquire) is one of the most common idiom-verbs for getting something — physical, emotional, or abstract.

Star (subj) guides place-at, anyone-than-also fast reach, surely

誰よりも ('more than anyone') uses より (comparative) + も (emphasis) on the word 誰 ('who'). The combination = 'than even anyone (else).' Common pattern: 誰よりも早く ('faster than anyone'), 何よりも大切 ('more important than anything').

World (subj) those-hands-in is-hiding light (obj)

Verb-clause noun-modifier: 世界がその手に隠してる光 ('the light that the world is hiding in its hands') uses the verb-clause directly to qualify 光. The personification of the world as having hands creates the dramatic image of an antagonist withholding what's owed.

This hand-with expose-and show-do

暴く ('expose / uncover / reveal what's hidden') is the verb for breaking secrecy — used for digging up scandals, opening truths, breaking seals. Combined with 〜てみせる (covered in Hagane no Kokoro): 'I'll expose it — and you'll see.' The two hands of the song (世界の手 vs この手) are pitted against each other.

Be-underestimated-without, look-back thing-as-for, already end-into-let's-do

なめられる ('be looked down on / underestimated') is the passive of なめる ('lick / take lightly'). Common in confrontational vocabulary: 'don't underestimate me!' (なめんなよ). 終わりにする ('make X into the end') uses 〜にする for the agent-causes-result construction (covered in Hands Up).

Far looked hill-on standing, longing (obj) hand-into-put, surely

遠く見えた丘 ('hill that looked far') uses the past form 見えた ('looked / appeared') as a noun-modifier — describing what the hill seemed like at an earlier point. The narrator is now ON that hill — what once looked distant is the present spot.

Invisible light (subj), you (obj)

Trailing line — the verb that should follow 君を (e.g., 照らす 'illuminate,' 探す 'search for') is omitted. Lyrical convention: leaving the predicate unfinished forces the listener to fill it in, often with hope or longing.