Top 55 Goldie Quotes

Junglists have something to say about the social situation.

Your life can change in seconds.

My perfect day is to get up at 5:30 A.M., jump on my scooter and go to the beach.

I see electronic music as loads of monkeys pushing buttons and me being one of them. But I think my album ‘Timeless’ stands the test of time.

I don’t use producers, I am the producer. I use an engineer as a tool, vicariously.

I think albums should be dynamic, man.

I’d like to make my own line of emojis to be honest.

I’ve lost friends and people that I’ve admired. The loss of any life is a travesty.

I’ve found a bit of peace in myself.

Pat Metheny’s my hero, man. I’ve got so much from Metheny’s music.

I experienced Hip-Hop first-hand in the Bronx with the boys in New York; people like the Rock Steady Crew and The Dynamic Rockers, I looked at it for what it really was.

The layers you get in graffiti, the ornateness, you can hear it in my music. I paint with my music. It’s a form of synaesthesia.

I’ve always seen music as colours, with basses maybe translating to dark blues, and trebles as yellows and ochres and a general sense of lights coming through.

I had so much anger. So much anger. Particularly towards my mother. I was a really, really angry person, and it was ruining me.

Timeless’ dealt with the integrity of what drum’n’bass was about, but ‘Saturnz Return’ was the mischievous kid in me doing something completely the opposite.

From the age of three, my life has been documented by social workers. There’s a file somewhere in Walsall Social Services saying: ‘He was a bit difficult today; he was trying to find out about his parents.’ Or: ‘He locked himself in his room and is collecting beer mats.’

Some people bought into the whole fame thing more than others, but I never did. I never felt I belonged; I wasn’t confident.

I DJ’d my first pirate station from a house I broke into in Haringey.

I will certainly be making music as long as I live.

I was a massive Human League fan, believe it or not.

I love the Bay Area and I love San Fran. I don’t know why I love it so much. Maybe it’s the vibe, maybe it’s the fault lines. Nah, there’s something very special in the air out there.

I obviously felt a very strong need to be a part of a family. Looking at trains and thinking ‘These kids are writing their names from one end of the city to the other,’ I finally felt like I’d found one.

Mother’ is not just about the physical mother but the fact of needing to be mothered, needing to have something that surrounded me.

I was never very good at marketing myself, I was very good at being explosive and making sense of something in the chaos around me.

I’ve grown up putting my suitcase down, making new friends, and then having to pick it up again, like ‘Let’s move him to another foster home in six months’ time.’

Anyone who asks if graffiti is really art should be cast out into a field, because they’re Neanderthals.

In New York, I was into Kool G Rap and Polo, KRS-One, that whole big 80s boom.

I’ve always felt mixed race. Or as my music teacher said during a lesson: ‘You are a mulatto.’ I always felt there were white people, black, and then people like me in the middle.

I’m eclectic in my tastes because of my trauma. It’s madness. It’s almost ADHD.

I use the same big studios that everybody else uses, but my attitude once inside is that of a total barbarian.

Saturnz Return’ proves how important the mother issue was for me in my life.

I never start a song at the beginning; I always start in the middle, working with the original concept. That might be a loop or a vocal hook. A weird noise or a string sample. Once that’s at the heart of the song, I work concertina-fashion, expanding the song forwards to the end and backwards to the beginning.

Timeless’ is like the little sister, but ‘Journeyman’ is the big brother – it’s what I’ll take to the grave.

I’ve always worked with different mediums whether it’s melting gold to make teeth, working with wood and paint or bending sound in a music studio.

You face your demons doing Bikram. You challenge them, beat them.

Once you leave your ego behind and let the good light in, you shine good light back. That may be a bit Buddhist but so what.

Saturnz Return’ was very up close and personal, which scared people off.

I’m understanding theatre a bit more. I’ve learned that you go over and over stuff. There’s a big element of back-story: where have the characters been before, where have they come from?

I’m ahead of fashion: my clothes aren’t fashionable at the time, but they become so. I set trends.

That’s why I want to screw with the abyss of technology, play God with science, so I can hop, skip and slide back and forth through time.

Art and music is so important for young people – the arts need to be supported and I think there are so many Clifford Prices out there like me.

I couldn’t carry on straight after doing ‘Mother,’ it was really hard. Getting my anger out was a catharsis but it was also selfish and indulgent.

I’ve always been a big champion of saying what we do today creates tomorrow. When you’re young, you don’t realise all of this stuff, and from an early age I was very conscious of what was going on in my environment.

If I got hit by a bus tomorrow, you’d get people going: ‘Oh, we should make ‘Mother’ into an opera, it’s what he would have wanted.’

When you go into the studio, you have to know what you’re going in there for. I went into the studio because I had a voice and I wanted to change things, and I don’t necessarily mean my bank account. The money is almost a B factor, a side product.

When I play in Hong Kong I go alternative, from Wu Tang Clan to ‘Blue Monday,’ and then for the last 45 minutes, if they deserve it, I play beautiful drum ‘n’ bass.

Too many people are making images of war. If I want to see war, I’ll watch the news.

You can be very connected, computers are great, they can get you a ticket to Venezuela in five minutes; brilliant. But if you know your music and your history, you can make that work as a tool. If you don’t, you’re working as a slave to it.

Childhood was abusive and horrible, I endured some stuff I don’t even want to talk about. I wouldn’t wish it on my worst enemy.

I grew up in Wolverhampton, but I was moved around the Midlands because I was in the care system.

Music and art well and truly saved my life really – the light switched on when I discovered art.

I honestly believe art and music saved me. Art and music saved my life. I am blessed.

Technology is not my master; when I use technology, I take it for a joyride.

One of the best-kept secrets in Phuket is Banana beach.

Me and Wiley have got a lot in common. And not just the fact that we’re both a bit nuts.