A Quote by Nick Lowe
And the other thing for the sort of posher kids was a sort of lethal scooter, you know. One of the things that you just push along with your - really heavy, lethal, you know, trap your fingers in and every bit of metal got rusty very quickly. And the girls I seem to remember they had a thing like a broomstick with a horse's head on the top which they sat astride.
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The one thing about kids is that you never really know exactly what they're thinking or how they're seeing. After writing about kids, which is a little bit like putting the experience under a magnifying glass, you realize you have no idea how you thought as a kid. I've come to the conclusion that most of the things that we remember about our childhood are lies. We all have memories that stand out from when we were kids, but they're really just snapshots. You can't remember how you reacted because your whole head is different when you stand aside.
I used to try and make up visually for what I couldn't play as a musician. I used to get into very incredible visual things where, in order just to make one chord more lethal, I'd make it a really lethal looking thing, whereas really it's just going to be picked normally.
I used to be really nervous when I sang. Like, when I was a kid starting young, 18 and 19, and my dad really had to sort of push me to start singing in front of people. Ever since I got out there and really started doing it, the only thing I've ever tried to do is just sort of is be myself, you know, never put on a voice. Sing naturally.
You know, John Coltrane has been sort of a god to me. Seems like, in a way, he didn't get the inspiration out of other musicians. He had it. When you hear a cat do a thing like that, you got to go along with him. I think I heard Coltrane before I really got close to Miles [Davis]. Miles had a tricky way of playing his horn that I didn't understand as much as I did Coltrane. I really didn't understand what Coltrane was doing, but it was so exciting the thing that he was doing.
In my day, the drug was alcohol and the weapon was a fist, so it was very sort of innocent and primitive. Now you've got drugs, guns, and knives, which are so lethal.
First time I ever took acid and got really high, as I was walking around I thought "Gee. The world looked like this when I was a little kid." I remember seeing the sparkling reality and three-dimensionality of things. Sort of like a renewal, every time you do it is a renewal, it is a renewal. It keeps your head young. It lets you keep that being able to accept the new thing just as easily as a kid would. Most people get all this stuff in their head like an old library, no room for the new volume to go on the shelves.
Get a scalpel, and practice just, say, cutting a piece of meat or something like that. You sort of learn how you want to hold your fingers, and that sort of thing, and try to become graceful when you operate.
[about being a father] I don't really remember what it was like before. Whatever I had going on, it was bullshit. It wasn't important. It's kind of a nice thing about being a dad. My identity is really about them now, and what I can do for them, so it sort of takes the pressure off of your own life. What am I going to do, who am I? Who cares, you've got to get your kids to school. So I like it that way.
I remember watching that show [Golden Girls] with my parents and not totally understanding it. Like, a lot of comedy flew over my head, a lot of the sexual stuff I didn't know. But because there was a laugh track, I'd laugh really hard, and I'm now remembering the look on my parents' faces - I had no idea why it was funny. I was sort of, like, laughing along.
'Sort of' is such a harmless thing to say... sort of. It's just a filler. Sort of... it doesn't really mean anything. But after certain things, sort of means everything. Like... after "I love you"... or "You're going to live."
I never got a lot done using a broomstick. You've got to have something that's lethal.
I feel when acting, I am sometimes overly self-conscious; I think, 'Going, no, don't, put your eyebrow back where it was and, you know, turn to the left.' You know, I'm sort of very consciously adopting this character. But with music, I don't know. I found it was a question of just closing my eyes and just sort of letting things come out.
...It's all sort of dreams and it's all illusion. It's theater; it's not real. We're making up stories, you know, and people tend to run into you and believe you are your characters. And I suppose the funny thing is the longer you go, you do become sort of some version of [your characters]. You both diverge from them - you know - you live, but you also permanently inhabit that geography and that mental space - and so you do morph a little bit. We do become what we imagine.
I remember being like, 12 years old, and this was in the days before cell phones, or at least, having a cell phone. Some girls, I can't even remember who they said they were, called and said they had a crush on me. But it turned out to be a prank, and I thought that was just straight up nasty, you know what I'm saying? You're just sort of developing. You're insecure, your bones are growing... you have trouble sleeping. And all of a sudden, someone's pranking you on top of that? It's tough growing up.
I've noticed that girls between like 20 and 30 seem to know 'Can't Hardly Wait.' I got the goth kids who know 'Buffy.' I got this wide spectrum of people who range from like 8 to 13 who seem to know 'Scooby-Doo.' Then I get the international people who seem to know 'Austin Powers' and 'The Italian Job.'
I've noticed that girls between like 20 and 30 seem to know 'Can't Hardly Wait.' I got the goth kids who know 'Buffy.' I got this wide spectrum of people who range from like 8 to 13 who seem to know 'Scooby-Doo.' Then I get the international people who seem to know 'Austin Powers' and 'The Italian Job.
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