The Modern Age’s opening title track is responsible for the Strokes’ reputation as Velvet Underground revivalists, though that’s mostly the doing of the singer, whose stuttering swagger and frenetic cheap-mike-through-a-bad-PA bursts of bad juju nail Lou Reed’s swoon of bleary-eyed excess. What’s better than mere impersonation is the way his voice works: it grabs you by the lapel and shakes the decorum from your bowels. (In person he looks like an exclusive-prep-school hustler’s wet dream: bored to tears, reeking of entitlement and leisure, another of NYC’s angelic gutterboys.) The second song, " Last Nite, " assumes the bouncy, jangly, spring-in-your-step, cigarette-in-hand quality of Iggy’s " Lust for Life " : it’s a compulsively joyous song for manic-depressives. On the last and poppiest cut, " Barely Legal, " he seduces an underage girl, steals her car (so she’s not too underage, right?), and drawls, in his best Iggy slur, " I just want to mis-a-behave/I just wanna be your slave. " Probably be your dog, too, if you asked.