"I write a lot, and very often I write a couple of lines that are particularly revealing in some kind of way. And then as a few more lines get added and a piece gets added, eventually the song pretty much takes over and you can't really find a way to change those things"
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Cave is describing songwriting as a loss of sovereignty, and he means it as both craft advice and a kind of metaphysical warning. The key move is the elevation of a couple of “particularly revealing” lines from raw material to fixed point: once they land, they become the moral and emotional DNA of the piece. Everything that follows is less invention than accretion. You don’t build a song as much as you discover what it insists on becoming.
That’s a very Nick Cave posture: the artist not as brand manager but as conduit, wrestling with forces that are part intuition, part obsession, part narrative momentum. The subtext is anti-revisionist in a specific way. He’s not romanticizing sloppiness; he’s arguing that early, truthful lines establish constraints. Those constraints are structural (rhyme, rhythm, imagery) but also ethical: if you try to “change those things,” you’re not editing, you’re lying. The song “takes over” because the initial revelation has consequences, and consequences don’t negotiate.
Contextually, this slots into Cave’s long-running commitment to songs as stories with gravity, often led by a single charged image or sentence that drags the rest into alignment. It also reads like a quiet rebuke to a contemporary workflow where lyrics are endlessly optimized for vibe, virality, or committee approval. Cave’s model is closer to devotion than content production: you show up, you follow the thread, and when it tightens around you, you respect it.
That’s a very Nick Cave posture: the artist not as brand manager but as conduit, wrestling with forces that are part intuition, part obsession, part narrative momentum. The subtext is anti-revisionist in a specific way. He’s not romanticizing sloppiness; he’s arguing that early, truthful lines establish constraints. Those constraints are structural (rhyme, rhythm, imagery) but also ethical: if you try to “change those things,” you’re not editing, you’re lying. The song “takes over” because the initial revelation has consequences, and consequences don’t negotiate.
Contextually, this slots into Cave’s long-running commitment to songs as stories with gravity, often led by a single charged image or sentence that drags the rest into alignment. It also reads like a quiet rebuke to a contemporary workflow where lyrics are endlessly optimized for vibe, virality, or committee approval. Cave’s model is closer to devotion than content production: you show up, you follow the thread, and when it tightens around you, you respect it.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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