Okay, so before we get to baroque pop, I’d like to put my editor’s cap on and point out that the more familiar, even cliched, ‘ear to the ground’ works far better here than the gimmicky ‘nose to the ground’ though I’ll allow the songwriting part of my brain – or the direct access to the Muse, whichever you fancy – had a bloodhound trail on this thought and may have wanted to open with it and see whether it was picked up, with what was to follow

I keep my ear to the ground
I'm the square there when you're around
proof once aloof in love now profound
You turn me upside down, girl (turn me upside down)
[RPT]

My feet can't compete with the noise on the street
You take me apart like it's art yet make me complete
My shins shine where a grin should begin
My knees pressed where who knows needs to guess
The best moment not to be in
[chorus]

I liked being aright but you set me alight
  in standing and landing right
It was my head that said those I'd eyed could step instead
   into the light defining the night
[chorus]

We can be as snobbish as we like about whether this is the right language for this particular beat generation nor whether our next song about billionaire’s ballast is truly of the mid-sixties. The Kinks were doing ironic social commentary and The Animals were doing more overt pieces. A songwriter only needs to share the lexicon, not sound like the Dave Clarke Five.

Baroque pop mixes rock with parts of classical. This may or not fit that requirement

Going Back on My Word

The premise of the promise is proper and precise 
Hanging off the edifice of further advice
I run back over the proof
Going back on my word
[interlude]

I hadn't secured the sequence or frequency of phrases
I hadn't so much as prised open praises
I revisit recent reasoning
(for) Going back on my word
[interlude]

I plunged in my pledge lunged over the edge
  the precipice of precise capitulation
I rally the really and shore up the sure
   now awaiting sentence
[chorus]Going back on my word