"I don't think I'm easy to talk about. I've got a very irregular head. And I'm not anything that you think I am anyway"
About this Quote
Barrett turns self-mythology into a moving target. The line starts with a disarming preemptive strike - "I'm not easy to talk about" - which reads like a warning to interviewers, fans, and future biographers who keep trying to freeze him into a tidy narrative: damaged genius, psychedelic martyr, missing frontman. It’s a refusal of the post-Beatles era’s favorite sport, turning musicians into legible symbols you can summarize on a record-store placard.
"I've got a very irregular head" lands with a double edge. On its face, it’s a whimsical, almost childlike image, the kind of off-kilter phrasing that matches Barrett’s early lyrical charm. Underneath, it quietly acknowledges difference - mental health, perception, cognition - without offering the voyeuristic confession people were fishing for. He names the irregularity, then denies you the right to translate it into a diagnosis or a headline.
The closer is the real trapdoor: "And I'm not anything that you think I am anyway". Barrett doesn’t just dispute a particular misconception; he attacks the entire premise that the audience's idea of him is authoritative. It’s an artist calling out the machinery of projection: fame as a collaboration between public hunger and media shorthand. In the late-60s/early-70s swirl around his departure from Pink Floyd, that insistence reads like self-defense and self-erasure at once - a man trying to keep ownership of his interior life by making it impossible to package.
"I've got a very irregular head" lands with a double edge. On its face, it’s a whimsical, almost childlike image, the kind of off-kilter phrasing that matches Barrett’s early lyrical charm. Underneath, it quietly acknowledges difference - mental health, perception, cognition - without offering the voyeuristic confession people were fishing for. He names the irregularity, then denies you the right to translate it into a diagnosis or a headline.
The closer is the real trapdoor: "And I'm not anything that you think I am anyway". Barrett doesn’t just dispute a particular misconception; he attacks the entire premise that the audience's idea of him is authoritative. It’s an artist calling out the machinery of projection: fame as a collaboration between public hunger and media shorthand. In the late-60s/early-70s swirl around his departure from Pink Floyd, that insistence reads like self-defense and self-erasure at once - a man trying to keep ownership of his interior life by making it impossible to package.
Quote Details
| Topic | Mental Health |
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