A Quote by Edgar Davids

Everybody in Ajax plays 4-3-3, from seven years old, so they get used to the system. It's all about being a total player. — © Edgar Davids
Everybody in Ajax plays 4-3-3, from seven years old, so they get used to the system. It's all about being a total player.
I was about seven years old. In my mother's garage I used to create plays and star in them and charge the neighborhood kids five cents to see them. It was a lot of fun.
One of the problems is that everybody is used to the old-fashioned debate system, which is very controlled, and where the moderator plays a more active role.
When I got into the Beatles, I must have only been about six or seven but old enough to take notice. We used to have an old radiogram which, for readers of a certain age, was like a big cabinet thing with a record player inside it.
What's difficult for American audiences is that they're used to a system here where you can get an actor for five years or even seven, and that is signed for at the audition. Whereas in England, no agent will give you an actor for more than three years.
My mom was a great tennis player, and I remember being six or seven years old watching Steffi Graf and Monica Seles in Wimbledon in my house. I've always been a tennis fan.
When you start at Ajax and you're six or seven years old, you're in the best team in the league - always. And you have to dominate, at home and away from home. A draw is never enough. A win is never enough.
When I was young, the best moment came when I was 10 and I got invited to the academy. I remember getting all this Ajax training gear and suddenly I was able to call myself an Ajax player.
Of course, my father was a soccer player. He used to play very good. Then, when I was young, eight or nine years old, ten years old, I just want to be like my father.
I just grew up in Ajax with all the players from Ajax. We only had two or three foreigners, so everyone knew each other and knew the system.
I was a crazy little seven-year-old. I used to get up an hour early to watch the big kids train. I thought, 'I must absorb their awesomeness.' That was my goal from when I was seven. I told my coach, 'I'm going to the Olympics.'
Going to the theater is such a joyous experience. My dad would take my sister and me to plays when we were very young, like six or seven years old.
War used to be something you could stand on the nearby hill and watch. Now we have total war; everybody's in it. We have total economics as well. Everything affects everybody. The Malaysian currency shakes, and people around the world are seriously affected.
We were poor [with my mother], and we didn't have too much. So we sat on the floor and we had a record player, and that's all we had in that room in the apartment. But we had whatever we had. Six records and a record player and it seemed like magic. Seven or eight years old, you know.
As a student, I was a total jhalli who used to wear torn denims, faded kurtis, kohled eyes and thought that I was the coolest girl ever! We were a bunch of students who used to do social-issue-based street plays and believed that we could bring about a change in the world.
I used to say to myself when I was seven years old that I couldn't wait to get older so I could make money and buy my own clothes. I had a lot of sisters, so as we got older the hand-me-downs got better, but it wasn't until I was about 15 that I was able to buy my own stuff.
I think probably the first time I wanted to be an artist was when I was about six or seven years old. I used to get British comics and I clearly remember seeing my first American comic: an issue of 'Action Comics', with Superman on the cover with a treasure horde in a cave, and Lois saying something like 'I don't believe Superman is a miser!'
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