I am pretty embroiled in moving on and moving forward with music.

I'm better for it and I prefer to keep things simple and see what sounds I can get out of my head and hands rather than relying on a sound that someone else created.

It is not very practical in today's world when you tour all over the place having a big band.

It's been very hard for the guitar as a serious synthesizer to compete with keyboards.

I like to play with someone who can cover a lot of ground and someone with whom you can discuss the language at a reasonable level; otherwise it gets a bit frustrating.

I actually think I play better now than I've ever played.

More recently, I used guitar synthesizer extensively on the two albums I did with Robert Fripp.

The most obvious thing you can't do with a guitar synthesizer is to really sound like a guitar.

I think rock records tend to be very expensive.

If you're a guitarist, you should not be intimidated by using your instrument as a synthesizer, but you shouldn't feel that you have to own one, either.

Of course the playing is important but writing and the establishing of what you are going for is prime too.

I've got four or five records in my head at a time that I try to work on and I would like to do a guitar trio record next - since The Police I've mostly made records with keyboards.

If I'm playing a violin thing, for instance, I tend to respond to that sound with the way I finger.

It accumulates over the years and I've led so many bands of my own now and forced myself into new situations... You would hope that you play better and better - until you just get too feeble to do it anymore.

Actually, I think my hands are in the best shape they've ever been in terms of what I can do.

I think we are coming to a new era where people will record much faster.

I would like to play with electronic keyboards again.

I was totally into jazz in my teens.

What I wanted to do was play the guitar but I don't like instrumental rock. I think it is tripe.

I spend a lot of time working as a painter and in my studio I go from upstairs where I paint to downstairs where I play and record, so I get this thing crossing over.

For me, the guitar synthesizer is a great writing instrument.

I'm just trying to avoid any sort of generic kind of music - I don't want to do generic jazz or fusion.

I don't have a great nostalgia for the past.

I don't like playing standards. I like to do my own cutting edge work.

My favorite sounds are the high, spacey ones that are very ambient.

In The Police, in a trio situation - which I've come back to now - it's just so wide open that it does actually provide this arena where you can play with a certain freedom.

If the guitar synthesizer is really going to stand as a synthesizer on its own, it needs to develop a more characteristic sound; I don' think it's gotten there yet.

It's hard to avoid the past but one goes forward.

I am pretty embroiled in moving on and moving forward with music.

There was a period when I'd just come out of college where I'd been playing classical guitar and I suddenly realised that it wasn't what I wanted to do with the rest of my life.

When you use music to worship you are not attempting to entertain.

Pop music, disco music, and heavy metal music is about shutting out the tensions of life, putting it away.

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

You've got to realize. In the western world, regardless of what color you are, what title the music is, it's all played by the same notes.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.

When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.

I want to promote poetry to the point where you got all the baldhead kids running around doing poetry, getting the music out of the way and having only words, the spoken word, and then see what happens.

There is no music that can't be used politically, but the motives behind the creation of that music can be non-political.

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

If not for music, I would probably be a very frustrated scientist. It's one way to answer the question, 'What is the meaning of life?' I feel music answers it better.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

My singing is my hobby. It's me and my brother. We just enjoy writing music.

I was determined to carve out a music of my own. I didn't want to copy anybody.

I have tried to make the music a bit easier for them to understand.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

That music and the lyrical aspects of Razorblade Romance is so personal to me that, now with me being grown up a bit and meeting new people and doing new things, it makes me look at the same things I was writing about back in the day through a different colored lens.

The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.

My big love was the Beatles. I was more into music.