Sarah Lowndes

The best thing about yesterday is you’ll never have to live through it again.

I saw Cage in a line starting back with, let’s say, Bach and you go forward through Mozart, Haydn, and then you get to Beethoven and then you get to Brahms and eventually you get to Schoenberg and Berg and then after that you get to Darmstadt, Stockhausen, and Cage, conflicting schools: the European school musique concrete people versus the American tradition which parallels all the arguments with paint

I saw Art & Language and the way the words were and the conflict of ideas, just the challenge to the form and the process, you’re building but at the same time you’re cutting the legs from underneath it. That made sense to me. Particularly, you know, after Darmstadt. Where do you go after Cage? You know, what is there left to do? You know? For me writing a song like Mistakes of Trotsky is more fun than talking about ‘baby, baby, I love you’. I don’t mind that, but I don’t want to do that.