I'm a little bit damaged in about 15 different ways, and it's been nice that no particular damaged area has become a major issue. I'm a more than moderately healthy 65-year-old male who has gotten away with a lot of stuff.
My general take on American music since 1969 is that it's just getting stiffer and people are getting more uptight - audience, performance, and palace guard.
When the 'godfather of punk' thing started floatin' around, it was, I was really, really embarrassed. I thought I should have a great, big rig and a cape and everything, and it was very embarrassing. And then after a while, you learn that if people call you anything, this is a great gift.
Miami's not anybody's poor cousin. It's an aspiration to live in this town, not something you have to do to promote yourself like some of the larger cities.
In 1965, when great young white artists in the English-speaking world were successfully re-channeling hillbilly and black music - you know Bob Dylan, Ray Davies, Pete Townsend, Keith Richards - they didn't get any money at first. They were all broke.
Look, you're here to see me, and I can't go on until my dealer is here, and he's waiting to be paid, so give me some money so I can fix up, and then you'll get your show.
I try to beat back the producers and engineers so they - there's not an excess of stuff used to squeeze my voice to make it artificial. There's a person in there, and people will listen; if they hear another person speak to them, they'll listen because it's lonely out here.
I became Iggy because I had a sadistic boss at a record store. I'd been in a band called the Iguanas. And when this boss wanted to embarrass and demean me, he'd say, 'Iggy, get me a coffee, light.'
A lot of young musicians get the money at the wrong time. They get it for something they don't feel great about, and it'll make you feel so bad it'll destroy you and kill you.
