"Spirit Of The Streets" (aka Down time beats)
(Martin Götz/Alison Fagan) 
(Introductory Movement 0:08 seconds)

What is left?
We’ve got no more else to say.
Only a handful of dreams to share.
That’s why I ran so very far away. 
And now the curse has broken, (Delete 'And')
See the terms coming to an end, ('the terms' is vague as to meaning.)
Oh, don’t let it be this way I’ve spoken, as ('this way' or 'the way'?)
 I falter on my way! (The voice could rise here, introducing the Chorus. 'falter on my way is obscure as to meaning.)

(0:34 Chorus)

I’m the Spirit Of The Streets,
Deal with the lights and the down-time beats, ('Deal with' doesn't have clear meaning.)
The stealer of the dawn,
Don’t tell me this is wrong! ('Don't tell me I'M all wrong!' would let the Singer-Character 'own' it.)
I'm the Spirit Of The Streets,
(Beneath the lights and the down-time beats!)(...downtown beats...)
(I'm the stealer of the dawn!)
Don't tell me I'm all wrong!
(I'm the Spirit Of The Streets!) One more 'hit' on THE Hook to drive that home as the main idea of the Song.)

(Instrumental Bridge)

How the pain got etched on your face,
 I’ll never know.
How this ache falls deep in my side, (Pronounce 'my' better.)
Can never show,
But it’s alright,
I’ve got the street life,
And the stories always changing, (Delete 'And'. 'stories' would be plural of 'story'. 'story's' would be a contraction of 'story is')
Where ever I go

I’m the Spirit Of The Streets,
(Beneath) the lights and the downtown beats, 
I'm the stealer of the dawn!
Don’t tell me I'm all wrong! 
I'm the Spirit Of The Streets,
Beneath the lights and the downtown beats!
(I'm) the stealer of the dawn!
Don't tell me I'm all wrong!
(I'm the Spirit Of The Streets!)

(Bridge)

How the pain is etched, how the pain is etched, (How the truth is stretched, how the pain is etched. Now the curse is broken.)
Oh, don’t let it be the way I’ve spoken!
I falter on my way, (obscure. What works on the written page may not work when sung.)

I’m the Spirit Of The Streets,
Deal with the lights and the down-time beats, ('Deal with' doesn't have clear meaning.)
The stealer of the dawn,
Don’t tell me this is wrong! ('Don't tell me I'M all wrong!' would let the Singer-Character 'own' it.)
I'm the Spirit Of The Streets,
(Beneath the lights and the down-time beats)
(I'm the stealer of the dawn)
Don't tell me I'm all wrong!
(I'm the Spirit Of The Streets!)
(Coda: Instrumental Bridge)

I have to disagree Gary... "Dealing with the lights and the downtime beats" is unique, it's what the whole song's about. ? 

Hi u2 🙂

Professor, thank you very much for stopping by, making suggestions. You are good people.
I will definatly try to follow your suggestions 🙂

@japov: i like unique lyrics. Thank you for stopping by

The melody, chord changes and the way you sing it all made me think of Al Stewart. 🙂  

I'm not a huge fan of the lyric, to be honest. I'm in favor of lyrics that make you think, and I can figure out what it might mean, but the effort of doing so makes it more of an intellectual exercise than an emotional one. I'm not sure what I'm supposed to feel. That's probably just my preference. It does have some interesting lines and "Deal with the lights and the down-time beats" is one of those lines that just sounds good.

Gary, I could be wrong, but I think "terms" refers to the terms of the curse.

Could that Structure work for you when you play it Martin?
I see how the words on the written page work.
But when 'consumed' as audio the obscurity of some phrases can be hard for the listener to get meaning from.
The bold statement by the Singer-Character, declaring with "I am the..." declaring himself to be "Spirit Of The Streets" makes that the most obvious title, to me. The 'downtime' concept is abstract, to me, while 'downtown' is where one might find the aforementioned 'streets'. The concept may have specific meaning to the Lyricist and isn't just a Prosody for Rhythm enabling you to land on the Rhyme-Word "beats". 
Of course it is your Song, Lyricist and Melodist, Producer, and I'm just an observer telling you what occurs to me as curious and wondering if you could take a look and ask yourself the same questions. I look forward to hearing the final production.

Hi Gavin, 

thank you for your feedback. I did not know Al Stewart but I duckduckgo'ed him. Really interesting voice :). Well, Gavin you know my situation. My English is not that good. I am good at writing lyrics in my own language. My weak point is English. I am still trying to find good co-writers, but until now it has only worked with Alison. Her lyrics are interesting and unique. I like them. They are not too complicated and most of them are easy to find music for them. 

When I write my own lyrics they are a little bit childish and I am always ... like... depending on the kindness of strangers. People like Gary and you who are trying to help me. 

And... the stuff with lyrics and so is hard. Well, don't know if anyone knows the Band AJR ... when I listen to their songs ... like "Dear Winter"... now THATS a cool lyric....

Or Connor Oberst.. 

@Gary: Thank you for your input. Like I always do, I´ll try it out and then I´ll see which one works better for me ... thank you so much Professor 🙂 

Dear Winter is a wonderful lyric, Martin.

I kind of get what you're trying to say in that you've been hurt and have run away and are now on the streets. And maybe it's just because English isn't your first language, but the stark contrast between the verses, where you speak about your pain, and the chorus, where you've transformed into the "spirit of the streets" at least for me, doesn't really work. It's as if you're singing about two different things in one song. The verses and chorus don't seem to hang together. I don't seem to get that the verses lead into "why" or "how" you've become the spirit of the streets. It's certainly implied, but at least for me, I'd like to see a more pronounced lead-in to the chorus.

I like the modern reggae feel of the song and as another mentioned, your Al Stewart singing style. Once you get into a more finished product, are you intending to do a solo with a huge fuzz like that? A little overdrive might work, but that was over the top and I have to admit that it kind of ruined the vibe for me.

Hi Martin. Still lovin' your voice man. Looks like you're getting a lot of great advice here. I'll just add that I think "What is left?" is a strong first line. I struggle with my first line in most songs I write so I'm always looking out for how other people start off.

I think you could take out the "very" in the line, "That’s why I ran so very far away," to make it flow better. 

Cheers, J

@Brandon: thank you for feedback. Well, the lyrics were written by a Person of irish origin. I do understand that there is a major difference between american, irish or new zealand English ... but most of the lyrics should be ok. But you can blaime the bad pronounciation on me. Anyway, thank you.

@Jenny: Hi Jenny, thank you for stopping by. You might be right about dropping the "very" to make it flow better.
Hmm.. don´t know why, whenever I do a lyric by Alison the text is heavily critisized. But I like her lyrics. They perfectly match my awkward attemp of singing and doin my "Indie Pop thing", her unconventional words match my unconventional style and vocals 🙂

Don´t want to do another song about the bluest blue eyes or whatever... lyrics in modern days pop music (and I about the last 20 years) have changed rapidly. So in my opinion it is ok 🙂