A Quote by Chris Hadfield

When I stand on the edge of a cliff or right at the edge of a building or something, it's one of the few things that gives me kind of a deep, overwhelming, irrational fear where it affects my physiology.
Does something which exists on the edge have no true relevance to the stable center, or does it, by being on the edge, become a part of the edge and thus a part of the boundary, the definition which gives the whole its shape?
I fear nothing. I fly around and do things a guy 6-2 and 240 would not do. That gives me an edge.
I enjoy getting things done. My philosophy is the edge, the edge of something. There's where we have to go in local government, in not only the philosophy but the creativity in people around you. They have to go to the edge.
It’s right to say that people fall in love. We don’t glide, slip, or stumble into it. Instead we tumble head first from the moment we decide to step off the edge of a cliff with someone and see whether we’ll fly together. Love might be irrational, but we make the choice to risk everything.
I think that's something a scientist can do because a scientist works at a border, at the edge of science, at the edge of knowledge, and so there's a lot of fun of reaching out and thinking about things that other people didn't think about. And so it has a kind of exploratory notion, kind of adventurous part in it.
Ten years ago, I went to visit my dad in Australia. I walked to the edge of a cliff and looked over and tripped. I righted myself but my head was over the edge. No one saw it.
I want to stand as close to the edge as I can without going over. Out on the edge you see all the kinds of things you can't see from the center.
Onlookers frequently confuse edge with style...Edge means generating excess returns because of mispricing. Style suggests being in the right place at the right time. Sometimes edge and style overlap, sometimes they don't.
There's a kind of edge to what you're doing, the kind of leading edge of what you're doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. "I've pulled that one out before. Oh, no, I can't I'm just fed up with that. Let's do something else."And you always think "Oh my God I've never done anything at all like that before." But, of course, in retrospect, and to an outsider, they'll say, "Oh, yeah that's typical Eno.
It's like standing on the edge of a cliff. This is especially true of the first draft. Every day you're making up the earth you're going to stand on.
The apartment was built at the edge of a high cliff so that when you looked out the back window it seemed as if you were twelve floors up instead of four. It was very much like living on the edge of the world - a last resting place before the final big drop.
You stand on the edge of eternity, with a vista that is so incredible, so powerful, so perfect that it's overwhelming. You are so overwhelmed - you no longer exist.
I am simply not prepared to stand back and watch my country fall off a cliff edge. If that means voting against my party, so be it.
There is something about writing poetry that brings a man close to the cliff's edge.
I don't like standing near the edge of a platform when an express train is passing through. I like to stand right back and if possible get a pillar between me and the train. I don't like to stand by the side of a ship and look down into the water. A second's action would end everything. A few drops of desperation.
In any given moment, a man's growth is optimized if he leans just beyond his edge, his capacity, his fear. He should not be too lazy, happily stagnating in the zone of security and comfort. Nor should he push far beyond his edge, stressing himself unnecessarily, unable to metabolize his experience. He should lean just slightly beyond the edge of fear and discomfort. Constantly. In everything he does.
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