Petokraka feat. Shtuka
Kontra · Other Songs - Kontra
skini taj povez i gledaj mojim ocima
zaplovi u moru snova bezbojnih
i vidi sta znaci bit' dijete devedesetih
Okusi strah, bol, mrznju i barut
i zivi u toj nadi da ce sutra ipak svanut
na sekund nosi teret mojih rana
dok grad ti sapce pricu jezikom oziljaka
Osjeti bol i na licu suze skorene
kad cijeli zivot jedes tudje ogriske
serem se na korice crvenog pasosa
ja sam ja, ne zivim pricu svojih staraca
Nemamo nikakav razlog gledati nazad
pa samo da vam kazem "Ne racunajte na nas"
nisam tad rasto, necu nista pricat
al kakav Kusta, kakav fildzan viska
Ref. x2
Crni leptiri su mrtvi
moje lipe ne cvatu
a neki novi klinci
odrastaju u paklu
zaboravio sam juli
a vozovi odlaze
zivim svoje vrijeme
a ne tudje utopije
Pored radija sam sjedio ko dijete
niko nije nameto svoje ploce i kasete
cuo rep zvuk i stisno crveno dugme
presnimivsi tako tamo neko Bijelo Dugme
Staroj nije smetalo "Ovo je sine tvoje vrijeme
suze nad prosutim mlijekom ne vrijede
ukljuci svoj mozak, idi dalje nego ja
zivi sad, ali iz proslosti uzmi sve sto sija"
Zgazene cikove i ugasene baklje
bacis u smece jer zivot ide dalje
drzi svoj plamen i na njemu radi marljivo
sve dok taj plamen, ne postane bljestavilo
Prije je bilo bolje, ali sta ja imam od toga
kad zivim u raljama svog vremena i prostora
baruta i otrova, lanaca i okova
je li za ovo proslost bila podloga
S ovim raspolazem i gradim svoj dvorac
necu nicije jucer, jer je nemoguce i vozdra
moja je drzava, pa kakva god da bila
imam ljiljane, Dzeku, tornjaka i piramida
Imam kurava i debila, cigana i psihopata
to znam, al ne znam, gdje je nestala petokraka
noz pod grlo mi je od zivota samo okrajak
to znam, al ne znam, gdje je nestala petokraka
Ref. x2
Petokraka feat. Shtuka
“Stani mi u stope i moje cipele pronosaj” is a telling way into this song: its speaker begins with a scene, not a thesis. The text’s strongest effect lies in the contrast between its direct hook and the particulars around it. A repeated phrase can sound certain, but the surrounding images disclose hesitation, comic excess or unresolved grief. Reading those parts together keeps the narrator from becoming a flat emblem of heartbreak or bravado. The song leaves room for listeners to sympathize while still questioning the account being offered.
Rap’s compressed rhyme and assertive persona make the verses feel like speech sharpened for an audience. The voice can boast, confess and contradict itself in quick succession; that is a dramatic device, not necessarily a factual autobiography. Here the most revealing question is what the performance is defending or exposing. The refrain gives the song a communal handle, while the verse preserves its sharper individual perspective. It is worth noticing how the lyric controls scale: an intimate worry, a public event or a small domestic scene becomes large enough to carry the refrain. The recurring line then returns with a changed emphasis. That movement gives the writing its shape and helps explain why its central image is more memorable than a simple summary of the plot.
I could not confirm a release notice, independent review or chart placement that clearly referred to this exact recording. Similar titles are not enough to claim a match, and the absence of indexed material is not evidence of failure or obscurity. The responsible account is therefore close to the lyric itself, with the wider public response described as undocumented in the sources checked.