when ed gets into flow, it s happening in real time. so, he can nearly write a song as fast as he can perform a song. it s really something to behold. now, you ve spoken about changing the way you work since the photograph case and recording things, so you have a kind of evidence base of what you were doing and what you were thinking about, what you were talking about when you were creating a song. at the same time, you don t want to inhibit that freedom, that free flow that sometimes takes shape very quickly. so, does this in any way change the way you work going forward, or are you just hopeful that you can push on through? filming, not so much, because it s my best friend that does it and he s basically part of the family, so he s just. yeah, i don t think that changes the writing, but in terms of, yeah, there s definitely. i mean, there s the george harrison quote where he says he s scared to touch the piano because he might be touching someone else s note.
but in terms of, yeah, there s definitely. i mean, there s the george harrison quote where he says he s scared to touch the piano because he might be touching someone else s note. and there s definitely a feeling of that in the studio sometimes, if you. i personally think the best feeling in the world, the best feeling is the euphoria around the first idea of writing a great song like, the first spark, where you go, oh, this is special, we can t spoil this, this is amazing. but that feeling has now turned into, oh, wait, let s stand back for a minute. have we touched anything? you find yourself in the moment second guessing yourself. how do you react now if someone basically lifts one of your melodies or one of your lyrics? i mean, would you go after them or.? the amount of times that it s happened and it s just. i don t want anything to do with it. just do you, do you. i don t care. and this is not in any way to say
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