I like to think I'm less about rock and roll and more about songs. I think songwriting is a tradition that's older than rock and roll. I could live without rock and roll. I haven't got this sort of religious reverie for rock and roll. I think it's incredibly reactionary and boring.
My job as a musician is very different from that of a prose writer - which I don't ever see myself being - because my job is to miniaturize. I take a big subject like love and make it small, where a writer takes a small subject and must make it bigger.
If you go into films nobody in rock'n'roll likes you. And if you come from rock'n'roll, nobody in films likes you. So you walk that tightrope of having no credibility whatsoever and having no safety nets. I think it's something that's inevitable to attempt, but it's not very comfortable being halfway.
I see music as one language. If one musical form eats its own tail, it dies. So it needs to be a mongrel, it needs to be hybridised.
I see songs not as a commodity used up when the album goes off the charts, which is often the case with pop songs. I see them as a body of work. Life should be breathed into them.
Anyone who buys a ticket and if they don't hear 'Roxanne' or 'Every Breath You Take', I think they feel cheated. I always do those songs but we do them differently - the possibilities are limitless.
I think I've always had a sort of fantasy or dream that I would like to make a living playing music. It seemed to be the most noble thing I could imagine. I had no idea how it was done, how you actually break into that sphere, but I always had this belief that music, no matter who you were playing to, was always going to be nourishing to me.
An uncle of mine emigrated to Canada and couldn't take his guitar with him. When I found it in the attic, I'd found a friend for life.
Peter Townshend shows us it's all right to grow up. There is dignity after rock'n'roll.
I never felt very comfortable as a teenager. The older I got, the better I felt and the more comfortable with myself I became. Without music I wouldn't have had a basis in anything. At a very early age it became my mode of expression, and without a mode of expression, you aren't intelligent, because you just can't communicate. Music allowed me to develop what intelligence I have. Without it, I don't think I would have. I found the young years very difficult. I was socially inept. So I don't hark back.
Yoga introduced me to a style of meditation. The only meditation I would have done before would be in the writing of songs.
Yoga is almost like music in a way; there's no end to it.
That sense of failure, I don't know where people put it who don't write songs and aren't able to emote physically. It must go somewhere.
I've tried to bring audiences along with me on my little journey. For me, music is a spiritual path and is about learning, I'm still a student. If I bring a certain percentage of people along from The Police to my own work and now to a new place, like Dowland, then I feel my job is very satisfying.
I was keen to record 'Zenyatta Mondatta' because I'd written a lot of songs for it, but when it came to going back on the road I had to be virtually dragged out of the house.
It's never easy to write a song. It's the most difficult thing I do.
I think if I was happy to re-create the music I was making when I was 25 forever, and was not interested in developing a style, then, yeah, I should have retired by now. But I really feel that if I keep doing what I'm doing, it will get better in a natural, organic way. I am reinventing myself as I go along, without being terribly self-conscious about it.
I hate most of what constitutes rock music, which is basically middle-aged crap.
Often, if you feel trapped in a situation, through the structure of a song a development appears. A simple key change can provide that different way of looking at a problem. That's my therapy. In reality, nothing ever stays the same and I think we should remember that in our deepest depressions.
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