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

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.

I don't like nostalgia unless it's mine.

Nostalgia is not what it used to be.

I know what it's like to be in one place and dream of another. I also know what it's like to feel that nostalgia is a fairly useless thing because it is stasis.

I don't play nostalgia acts. I don't play nostalgia shows.

I feel like I've never had a home, you know? I feel related to the country, to this country, and yet I don't know exactly where I fit in... There's always this kind of nostalgia for a place, a place where you can reckon with yourself.

Sharp nostalgia, infinite and terrible, for what I already possess.

Everything can be killed except nostalgia for the kingdom, we carry it in the color of our eyes, in every love affair, in everything that deeply torments and unties and tricks.

I grow plants for many reasons: to please my eye or to please my soul, to challenge the elements or to challenge my patience, for novelty or for nostalgia, but mostly for the joy in seeing them grow.

Nostalgia often leads to idle speculation.

Nostalgia is a file that removes the rough edges from the good old days.

My life is very exciting now. Nostalgia for what? It's like climbing a staircase. I'm on the top of the staircase, I look behind and see the steps. That's where I was. We're here right now. Tomorrow, we'll be someplace else. So why nostalgia?

Why have we had to invent Eden, to live submerged in the nostalgia of a lost paradise, to make up utopias, propose a future for ourselves?

Nostalgia isn't what it used to be.

It is one of the paradoxes of American literature that our writers are forever looking back with love and nostalgia at lives they couldn't wait to leave.

There's a certain nostalgia and romance in a place you left.

Nostalgia is a seductive liar.

I'm not the sort to wallow in nostalgia about the good old days.

Every act of rebellion expresses a nostalgia for innocence and an appeal to the essence of being.

True nostalgia is an ephemeral composition of disjointed memories.