A Quote by Genesis P-Orridge

Once you have a hit, it just becomes another old song. — © Genesis P-Orridge
Once you have a hit, it just becomes another old song.
All the carbon copies, the stuff that the industry puts together, it's not selling if you pay attention and look at the charts. The stuff that they put together, these hits that just go out, it doesn't sell. It doesn't have a core fan base of fans that dedicatedly watch their life. It's just a song, another song, another hit song, a one-hit wonder. It doesn't sell. It doesn't last.
You don't really write a hit song - you write a great song, and then, if the public decides it's a hit, they take over from there. The song becomes its own monster.
I don't ever have the pressure of making a hit, because I've never had a hit song, per se. The closest thing to a hit song was 'Shiraz,' and it's not your prototypical hit song, with a catchy hook and all this other stuff.
When that much time goes by, you're really listening to your old music differently. At the time it's written, it was the beginning of our career and with every song we're thinking, 'This is what's creating us.' Now, nothing is creating us. We're well-created. We're there. It becomes just pure pleasure and you become sort of an archeologist of your own music. You don't judge it, because what's the point? It's a 30-year-old song. It just becomes fun.
When you're like, 'Yo, we gotta write a hit song, we need a hit song right now,' that never works. Every time that happens, I never write a hit song.
Once you write and record a song, it becomes everyone else's song.
I never want to record something that I'm not proud of just because I think it might be a big hit. There's no positive about that because if you record a song you hate and it's a big hit, then you're singing a song every night that you hate. And if you record a song that you hate and it isn't a hit, then you sold out for no reason.
Getting older doesn't help you in the fact that you might have covered some of this ground before. So you're listening to a song that you know is a hit, but it just can't be a hit for you, it's gonna be a hit for somebody else. That's tough.
With 'Love Shack,' once we put that chorus in, it did have more of a song structure. Even though the verses are all kind of different, the chorus was there along with 'The Love Shack' - I think that really made it a hit. Once we heard it in the studio, we played it for R.E.M., and they were like, 'Yes this is a hit.'
If you are out there golfing, and you hit a bad shot, anyone who knows golf will tell you that you just have to forget about it. If you don't, you'll hit another bad one and another and then another. It plays with your head. It's the same way in a fight.
Day-old bread? Sadly, in America a lot of day-old bread just becomes nasty. Italian day-old bread, not having any preservatives in it, just becomes harder and it doesn't taste old. What I would warn people about is getting bread that's loaded with other things in it, because it starts to taste old.
I didn't want to release a song like 'Spice Girl' right after 'Caroline' because I didn't want another 'hit' kind of song.
You could have written the biggest hit song, and all eyes are looking to you to write another one. It's not a thankless job; it's just an endless job.
Look, when a song becomes a hit, it happens because of its tune and melody, and not for the lyrics in the first place.
[Best original song nomination in 2016] should be Wiz Khalifa for "See You Again," but this is an amazing song and it's easily the biggest song out of any of the songs nominated. It was a huge hit. And really, I'm just happy for Weeknd as a person.
Once acting hit me, once that bug hit me, I just... took the jump and dove right in.
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