“In the book you wrote that every musician is a potential virtuoso if they can just find where they belong, which you called “their personal slot in the spectrum.” How does an amateur without Malcolm McLaren behind them discover their place?
I mean, it’s like that blues guy, Burnside, or one of those guys, it might be somebody else, who does these songs where you’ve just got one chord, and grooves on one kind of blues chord for the whole thing. Somebody else might not have the nerve to do that and go, “I’m feeling this, I’m good at this, it feels good, I’m going to stick with it.” Somebody else might feel, “Oh no, you can’t get away with that. You have to go to another chord at the chorus, or nobody’s gonna… people will think I’m stupid if I just do this.” You know? Often, I think to find that stuff you just basically have to throw out accepted wisdom, or the consensus, and go, I’m going to do this because it feels right to me and it’s something I can do, and not feel like you’re supposed to do this other thing, whatever, a guitar solo, or play drums like this. You don’t have to. You can figure out some other way to do it that works for you. It’s a big step, though. I don’t think there’s a formula for it.”