First We Take Manhattan

R.E.M. · Other Songs - R.E.M.

They sentenced me to twenty years of boredom

For trying to change the system from within

I'm coming now I'm coming to reward them

First we take Manhattan, then we take Berlin



I'm guided by a signal in the heavens

Guided by this birthmark on my skin

I'm guided by the beauty of our weapons

First we take Manhattan, then we take Berlin



I'd really like to live beside you, baby

I love your body and your spirit and your clothes

But you see that line they're moving through the station

I told you, I told you, I told you I was one of those



You loved me as a loser but now your worried that I just might win

You know the way to stop me but you don't have the discipline

How many nights I prayed for this to let my work begin

First we take Manhattan, then we take Berlin



I don't like your fashion business, mister

I don't like these drugs that keep you thin

I don't like what happened to your sister

First we take Manhattan, then we take Berlin



I'd really like to live beside you, baby

I love your body and your spirit and your clothes

But you see that line they're moving through the station

I told you, I told you, I told you I was one of those



Did I thank you for those items that you sent me

The monkey and the plywood violin

I practiced every night now I'm ready

First we take Manhattan, then we take Berlin



Now remember me, I used to live for music

Remember me, I brought your groceries in

It's Father's Day and everybody's wounded

First we take Manhattan, then we take Berlin

First We Take Manhattan

Released in 1991 on Out of Time, "First We Take Manhattan" stands as a defining track in the post-punk revival era, showcasing R.E.M.'s evolution into a more polished, radio-friendly sound. The song features a driving rhythm section and melodic guitar work that balanced the band's earlier experimental tendencies with mainstream appeal. As a centerpiece of their discography, it exemplifies the collaborative songwriting style of Michael Stipe and Peter Buck, delivering an anthemic quality that resonated with audiences worldwide. The track remains a staple of their live performances and a critical touchstone for understanding the band's transition in the early 1990s.