Nina Hagen - The Lady Loves Me

Copied!

She loves me, she loves me not
She loves me, she loves me not
She loves me, she loves me

The lady loves me and it shows
In spite of the way she turns up her nose
I'm her ideal, her heart's desire
Under that ice, she's burning like fire

She'd like to cuddle up to me
She's playing hard to get
The lady loves me
But she doesn't know it yet

The gentleman has savoir-faire
As much as an elephant or a bear
I'd like to take him for a spin
Back to the zoo to visit his kin

He's got about as much appeal as a soggy cigarette
The lady loathes him
But he doesn't know it yet

The lady's got a crush on me
The gentleman's crazy obviously

The lady's dying to be kissed
The gentleman needs a psychiatrist

I'd rather kiss a rattlesnake
Or play Russian roulette

The lady loves me
But she doesn't know it yet

She's falling fast she's on the skids
Both of his heads are flipping their lids

Tonight she'll hold me in her arms
I'd rather be holding hydrogen bombs

Will someone tell this Romeo
I'm not his Juliet

The lady loves me
But she doesn't know it yet

She wants me
Like poison ivy

Oh, needs me
Like a hole in the head

Everyone can see she's got it bad
He's mad!

The gentleman is an egotist
Ha!, I'm simply aware I'm hard to resist

He's one man I could learn to hate
So how's about having dinner at eight?

I'd rather dine with Frankenstein
In a moonlight tete-a-tete

The lady loves me
But she doesn't know it yet

Oh yes she loves me
Dig that shrinking violet
Oh she really loves me
Here's one gal you'll never get

She lo- lo- loves me
Would you like to make a bet?
I said the lady loves me

The gentleman's all wet!

SoundCloud:

edit soundcloud

YouTube:

edit video

Comments: 0

More Nina Hagen lyrics

Nina Hagen

edit foto

Song Description

edit description

Biography

edit bio

Catharina “Nina” Hagen was born March 11, 1955, in (communist) East Berlin. An opera prodigy by age 9, a pop star in East Germany by age 17, she emigrated to West Berlin by age 21. Rumors have it that she was kicked out for being too “punk rock”. The Urban myth is false, but the reality, in spirit? Close enough.

Nina Hagen has since become a household name in most of Europe, as a singer-songwriter-actress with a reputation ranging as wide as her 5-octave vocal prowess, from the “scandalously lunatic, unlistenable freak” to the “inspiring diva-divine goddess of music” (die-hard devotees choose a version of the latter “descriptive”, in various languages…).

By 1983, “the Mother of Punk” had Giorgio Moroder producing her fourth LP, Fearless, a fearlessly un-punk album, and too strange to dub as a purely pop/new-wave record. It yielded a Top 10 12” night club dance track in the U.S., Nina’s original “New York, New York”, opera chops intact.

Ten years earlier, Nina’s commercial career began with Automobil, with a big hit in East Germany (yes,in the formerly Soviet-controlled Eastern “GDR” Bloc of Germany), “Du hast den Farbfilm Vergessen”. Translation: “You Forgot the Colour Film”. This 1974 song wasn’t “punk”, but its lyrics? An ambiguously clear metaphor, a clever jab at the constraining drab “gray” of wall-bound East Germany. Luckily the Soviet authorities did not execute Nina nor Automobil’s musicians for such subversion. The music was and remains just too … musical. It even has a video, sort of…

“The Mother of Punk"? Nina’s prominence in the punk and new wave “scenes” of the late 1970s and early 1980s began in earnest with 1978’s “The Nina Hagen Band”.

Since then, Nina’s colorful, prolific career, including film and stage acting, on-camera political/religious zeal (particularly as a “Talk Show” personality), and sought-after “guest vocalist” (many, many songs by varied and numerous acts feature Nina’s vocals) has, in the U.S., been relegated to that of a 3-album cult artist, if measured by American label-support. Youtube, drenched with official and unofficial-Nina Hagen cornucopias, does her “influence” far more justice …

Albums available in the U.S. (as non-import, e.g. on iTunes and U.S. flavoured streaming sites) include her insane-alternative-WTF 1982 NunSexMonkRock (originally on CBS Records), her 2001 “comeback” album, Return of the Mother, and her Christian-blues-alterna-country-gospel-covers album, 2010’s Personal Jesus.

Nina’s repertoire of 15 studio albums includes her 1999 double album of Vedic chanting Om Namah Shivay, released for charity.

Generally, her “spiritual” nature is often conveyed in her music. Was “Personal Jesus” a “devotional” religious switch from Shiva, et al? Was she really abducted by benevolent extraterrestrial aliens? Is she a “prophet” or a “wack-job”? Is she a “real” nut-case, versus a phony-media-grabber, preaching didactic “conspiracy”-type theories and political views to fuel the P.R. of her “character”? Answer: probably not, given her intensely comical and serious persona is anti-establishment, and anti-record labels. Does that makes her a “true” artist?
She’s the mother of punk, so what the funk?.