Gdje mi je pamet bila
Lexington · Other Songs - Lexington
ni da stanem ni da krenem
ovih dana falis mi tu
samo ne smijem da spomenem
Ovih dana zivim po svom
koga ljubim gubim za dan
ti si list u sjecanju mom
koji nikad ne otvaram
Ref.
Gdje mi je pamet bila
da te slomljenog srca ostavim
nisam vidio tad
nisam, srece mi
Gdje mi je pamet bila
da se okrenem i ne pozdravim
ti zaboravila
a ja cu s grijehom tim da ostarim
Ovih dana isto sam lud
trazim neke pjesme stare
ovih dana vidim te svud
neki se snovi ne ostvare
Ref. 4x
Gdje mi je pamet bila
The regret in this song is not abstract: the speaker remembers leaving someone with a broken heart and failing even to say goodbye. Now he sees the former lover everywhere, revisits old songs and wonders where his judgment was at the moment he walked away. The question in the title makes the chorus sound like a trial in which the defendant and the witness are the same person.
The narrator’s memory is selective in an important way. He knows he hurt the other person, but the lyric gives little account of why he left or what the beloved wanted. His guilt fills that blank, turning the past into a single moral failure he fears he will carry into old age. This imbalance makes the song less a reconciliation plea than an attempt to live with responsibility after the chance to repair things may have passed.
One useful contextual detail is its place in the catalogue: It appears on *Noć Pod Zvijezdama*, an album dated 2017-02-22, issued by City Records. This placement is firmer context than a speculative claim about the chart history of the song. I could not verify a dependable chart position or an independent review of this specific recording, so its wider reception remains unquantified rather than something to infer from its lyrics.
That self-accusing voice belongs to the dramatic tradition of the regional pop ballad, where a repeated question can become the song’s emotional hook. Lexington’s refrain makes remorse singable without removing its discomfort. No independent review of this particular track was located. The lyric’s distinction between regret and repair is its strongest point: the narrator can now name what he did, but the person he hurt may already have learned to live without him.