|
About
Vertigo.
Where
is
Vertigo?
Bono
It’s
a
dizzy
feeling,
a
sick
feeling,
when
you
get
up
to
the
top
of
something
and
there’s
only
one
way
to
go.
That’s
not
a
dictionary
definition,
that’s
mine,
and
in
my
head
I
created
a
club
called
Vertigo,
with
all
these
people
in
it
and
the
music
is
not
the
music
you
want
to
hear,
and
the
people
are
not
the
people
you
want
to
be
with,
and
then
you
see
somebody
and
she’s
got
a
cross
around
her
neck,
and
you
focus
on
it,
because
you
can’t
focus
on
anything
else.
You
find
a
little
tiny
fragment
of
salvation
there.
Is
it
important
to
have
a
hit
single?
Adam
Yes,
because
it
tells
people
that
you’re
back.
I
think
it’s
harder
and
harder
to
get
people’s
attention
these
days,
there’s
a
lot
of
competition
out
there
and
I
think
if
you
don’t
try
and
grab
people’s
attention
with
a
track
that’s
indisputable,
that
fires
people’s
imagination,
then
they’re
not
that
interested
in
what
the
rest
of
the
record
is
about.
Bono
Oh
yes,
I
want
to
have
hits,
sure!
The
greatest
rock
and
roll
songs
are
pop
songs.
I
love
that
interview
with
Kurt
Cobain
where
he
says
I’m
a
pop
star,
this
is
a
pop
song.
He
was
a
great
student
of
The
Beatles
and
The
Buzzcocks,
and
whether
it’s
The
Sex
Pistols
or
The
Clash
or
The
Rolling
Stones
or
The
Kinks
or
The
Who,
they’re
great
moments,
those
great
45s.
Vertigo
is
definitely
a
45.
It’s
3
minutes
long.
That
should
be
the
definition
of
a
proper
45,
I
think
it’s
our
only
one
though.
Oh,
Desire
was
two
and
a
half
minutes.
Edge
U2’s
never
been
a
band
that
has
relied
on
hit
singles,
in
fact
we
were
known
in
the
80s
and
90s
as
the
biggest
cult
band
in
the
world,
because
we
had
this
major
success,
sold
lots
of
records,
played
in
big
venues,
but
never
really
had
any
history
of
hits
and
single
sales.
But
it’s
always
nice
if
you
get
one
away
into
the
consciousness,
whether
it’s
a
hit
or
not
in
any
official
sense,
just
a
song
that
connects
on
a
more
broad
level
than
just
to
U2
fans,
and
we’ve
had
a
few
over
the
last
few
years,
Beautiful
Day
I
think
definitely
did
that.
But
I
think
there’s
a
few
songs
on
How
To
Dismantle
An
Atomic
Bomb
which
are
potentially
capable
of
connecting
way
up,
way
broader
than
just
our
fans.
About
How
To
Dismantle
An
Atomic
Bomb.
Was
it
a
difficult
album
to
make?
Bono
No.
I
thought
that
it
was
quite
easy
because
Edge
kick-started
the
thing
so
I
thought,
wow,
that’s
great,
I
don’t
have
to
kick
him.
So
he
was
off
and
running,
and
I
thought,
wow,
maybe
I’ll
have
to
run
very
fast
to
keep
up
with
him.
And
the
ending
was
amazing,
when
Steve
Lillywhite
came
in
and
did
his
usual,
do
your
job,
songs
only
four
minutes
long,
what’s
the
problem,
the
English
common
sense.
That
was
a
joyful
noise
we
made
unto
the
Lord,
and
it
was
the
middle,
I
think,
where
things
got
a
bit
messy.
We’d
invested
a
lot
of
time
and
energy,
and
we
weren’t
getting
to
magic.
We
were
getting
close
to
it,
right
up
next
to
it,
you
could
almost
smell
it,
you
could
just
about
kiss
it,
but
you
couldn’t
get
your
lips
to
it.
We
had
a
fantastic
producer,
Chris
Thomas,
who
was
working
with
us:
brilliant
guy,
worked
with
The
Beatles,
Roxy
Music,
Sex
Pistols,
and
we
were
getting
great
guitar
sounds,
great
things,
but
I
think
finally
we
must
have
driven
him
crazy.
We
wore
ourselves
out,
if
not
him.
We
needed
a
new
lease
of
life,
so
we
brought
in
Steve
Lillywhite,
who
we’ve
made
all
our
records
with
in
some
shape
or
form,
most
of
them
anyway,
and
it
was
like
the
second
half
of
the
cup
final,
we
changed
a
few
of
the
team.
Got
some
fresh
legs,
out
onto
the
pitch
and
off
we
went.
Edge
At
this
point
for
us
there’s
no
such
thing
as
an
easy
album,
it’s
the
kind
of
tension
between
our
quite
unrealistic
expectations,
and
therefore
our
impatience
with
anything
that
doesn’t
sound
like
it’s
going
to
ultimately
make
it.
So
that
means
that
we’re
quite
hard
on
ideas
and
work,
and
songs
that
we’re
working
on,
and
that
can
be
quite
difficult
for
people
on
the
project
because
it
would
seem
at
times
like
we’re
getting
nowhere,
but
the
great
moments
on
a
record
are
where
you
see
in
action
this
idea
that
the
whole
is
greater
than
the
sum
of
the
parts,
and
that
occurs
from
time
to
time.
That’s
when
suddenly
the
idea
you’re
working
on,
and
the
band
as
musicians
and
performers,
suddenly
it
all
comes
together.
You
get
a
moment
that
defies
the
elements
that
make
it
up.
That
happens
from
time
to
time.
On
this
record,
towards
the
end,
it
happened
quite
a
lot.
So
after
doing
a
lot
of
work
that
might
seem
a
waste
of
time
to
people
outside
of
the
process,
in
fact
it’s
the
beginning
of
the
process
that
leads
you
to
that
period
where
it
all
starts
to
fit
together.
If
you
didn’t
have
the
early
development
phase,
then
it
wouldn’t
fit
together.
Our
song
writing
and
production
process
is
a
very
strange
process.
Somebody
said
it’s
a
bit
like
the
Zen
artists
who
spend
hours
and
hours
mixing
the
paints,
and
then
the
actual
work
happens
really
quickly,
so
that’s
what
took
a
long
time
on
this
project.
It
was
not
the
recording
of
the
final
versions,
but
all
the
various
different
phases
we
went
through
with
the
songs
to
get
them
to
the
place
where
they
were
finished.
About
How
To
Dismantle
An
Atomic
Bomb.
What’s
the
album
about?
Bono
You
don’t
hear
people
talking
about
atomic
bombs
very
much
these
days,
do
you?
It
comes
from
my
father’s
lexicon.
His
generation
would
call
it
the
atomic
bomb,
we
call
it
weapons
of
mass
destruction,
but
although
everyone
in
the
world
is
trying
to
figure
out
how
to
put
the
toothpaste
back
in
the
tube,
ie.
once
you
have
this
knowledge
available
on
the
internet,
are
we
ever
going
to
be
safe?
Even
though
that
is
a
thought
that’s
hanging
in
the
air,
in
my
head
How
To
Dismantle
An
Atomic
Bomb
is
about
my
father,
Bob,
How
To
Dismantle
An
Atomic
Bob.
He
died
a
couple
of
years
ago,
and
his
demise
set
me
off
on
a
journey,
a
rampage,
a
desperate
hunt
to
find
out
who
I
was,
and
that
resulted
in
a
lot
of
these
songs
so,
it’s
a
lot
more
personal
than
a
political
record,
I
think.
Edge
U2
as
a
band
are
not
at
this
point
into
concept
records,
and
we’re
not
a
band
that’s
going
to
follow
an
idea
down.
Writing
songs
is
a
far
more
instinctive
process
for
us,
and
certainly
the
intention
was
much
more
rock
and
roll
feeling,
and
then
in
the
end
you
have
to
step
back,
when
it’s
all
done,
and
ask
yourself,
well
what
album
did
we
get?
This
is
what
we
set
out
to
do,
what
did
we
get?
I
think
I’m
happy
that
it
captures
that
spirit,
but
it’s
got
other
stuff
besides.
I
think
it’s
better
than
it
would
have
been
if
it
was
all
straight
ahead
rock
and
roll.
About
How
To
Dismantle
An
Atomic
Bomb.
Is
it
a
rock
and
roll
album?
Adam
I
think
it
is
a
guitar
record.
I
think
Vertigo,
Love
And
Peace
Or
Else,
City
Of
Blinding
Lights,
All
Because
Of
You,
I
think
they’re
all
rocky
tunes.
A
lot
of
them
are
a
kick
back,
if
you
like,
to
our
very
early
days.
It’s
as
if
with
each
year
we’ve
gathered
a
little
bit
more
and
that’s
what
we
are
now
in
a
way,
what
those
songs
are.
Bono
No.
When
we
first
went
into
the
studio
it
was
mad
it,
was
like
the
MC5,
The
Stooges,
just
rifferama,
Edge
with
a
stick
of
dynamite
up
his
hole,
just
going
off.
He
was
pissed
off
with
something,
I
don’t
know
what
it
was…
probably
me.
It
was
really
powerful
rock
and
roll,
and
Edge
is
much
more
Zen,
much
more
monkish,
much
more
ethereal.
So
to
see
him
with
this
amount
of
metal
in
his
system
was
an
amazing
thing.
But
in
the
end
we
couldn’t
get
it
to
the
other
place,
whatever
that
is,
that
feeling
that
I
want
from
a
U2
album,
and
I
think
that
other
people
want,
that
thing
where
you
just
lose
yourself,
so
we’ve
left
a
few
of
those
songs
behind
from
what
you
could
call
the
rock
and
roll
album,
and
it
started
to
become
more
dimensional
and
more
unique,
and
the
songs
started
to
transform
more
into
our
own
image,
whatever
that
is..
About
How
To
Dismantle
An
Atomic
Bomb.
How
does
it
compare
to
your
other
albums?
Bono
On
All
That
You
Can’t
Leave
Behind,
I
think
we
had
the
best
collection
of
songs.
I
don’t
think
that
the
whole
was
greater
than
the
sum
of
the
parts,
in
the
way
that
The
Joshua
Tree
had
some
songs
that
weren’t
quite
as
good,
but
the
overall
feeling
of
that
album
was
that
it
takes
you
over,
same
on
Achtung
Baby.
Don’t
think
we
quite
got
there
on
All
That
You
Can’t
Leave
Behind…
although
I
think
there’s
better
songs.
I
hope
on
this
album
we
have
both…
but
only
time
will
tell.
About
How
To
Dismantle
An
Atomic
Bomb.
Is
this
an
album
or
a
collection
of
songs?
Edge
I’d
like
to
think
that
this
is
a
real
classic
U2
album
and
that
there
is
this
spine
to
it,
and
certainly
as
we
were
making
it,
we
were
very
conscious
of
this
moment
in
time
and
what
was
going
down
worldwide,
the
mood
out
there.
Even
if
it’s
not
necessarily
overtly
about
what’s
happening
now,
I
think
in
a
major
way
there
is
an
undercurrent
that
pervades
the
whole
album.
So
I’ve
a
feeling
that
looking
back
on
this
album
in
a
few
years
time
it
will
have
a
very
strong
identity
from
beginning
to
end,
and
I
think
ultimately,
that’s
what
an
album
is
about,
something
that’s
very
clearly
of
its
time
and
sums
up
a
feeling
of
one
sort
or
another.
About
Sometimes
You
Can’t
Make
It
On
Your
Own.
Is
this
about
your
father?
Bono
I
sang
the
song
Sometimes
You
Can’t
Make
it
On
Your
Own
at
my
father’s
funeral.
He
was
a
very
tough
old
boot
of
a
guy,
Irish,
Dub,
north
side
Dubliner,
very
cynical
about
the
world
and
the
people
in
it,
but
very
charming
and
funny
with
it.
His
whole
thing
was,
don’t
dream.
To
dream
is
to
be
disappointed.
That’s
really
who
I
think
my
father
was,
and
that
was
his
advice
to
me…
he
didn’t
speak
it
in
those
words
but
that’s
what
he
meant.
And
of
course
that’s
really
a
recipe
for
megalomania,
isn’t
it?
I
was
only
ever
interested
in
big
ideas,
and
not
actually
so
much
dreaming,
but
putting
dreams
into
action.
Doing
the
things
that
you
have
in
your
head
has
become
an
important
thing
for
me.
Anyway,
the
song
Sometimes
You
Can’t
Make
It
On
Your
Own
is
dedicated
to
him,
it’s
a
portrait
of
him,
and
it
also
explains
that
he
was
a
great
singer,
a
great
tenor.
A
working
class
Dublin
guy
who
listened
to
the
opera
and
conducted
the
stereo
with
my
mother’s
knitting
needles
-
he
just
loved
opera.
We
didn’t
talk
very
much,
so
in
the
song
I
say
to
him,
can
you
hear
me
when
I
sing,
and
I
hit
one
of
those
big
tenor
notes
that
he
would
have
loved
so
much.
About
Sometimes
You
Can’t
Make
It
On
Your
Own.
Edge
Sometimes
You
Can’t
Make
it
On
Your
Own
is
one
of
those
songs
that
was
very
difficult
to
get
right.
It
was
so
strong
that
we
kept
running
into
cliché
as
we
put
the
arrangement
together.
It
had
this
potential
which
we
all
understood,
but
we
couldn’t
find
the
way
to
play
it,
so
that
it
didn’t
sound
like
a
lot
of
other
classic
songs.
Eventually,
with
some
help
from
our
producers,
and
Danny
Lanois
who
popped
in
for
a
couple
of
days
to
play
with
us,
we
unlocked
the
beginning
of
the
song,
and
then
once
we
got
that,
everything
else
we
already
had
came
together.
But
as
a
tune
we
always
thought,
if
we
got
it
right,
it
was
going
to
be
a
big
song,
and
now
I
think
it
could
be
a
massive
song,
simply
because
it’s
a
complete
song.
There’s
nothing
but
pure
melody
there,
there’s
no
fat,
nothing
you’d
lose.
It’s
just
one
of
those
great
lyrics,
those
great
ideas,
that
I
think
is
going
to
connect
with
people.
Everyone
can
relate
to
it.
It’s
got
a
universal
aspect
that
will
connect.
About
Original
Of
The
Species
Bono
Original
Of
The
Species
is
a
very
special
song
for
me,
it’s
a
beautiful,
melodic
journey.
Most
songs
go
A
B
A
B
C
D.
Pop
songs
and
rock
and
roll
songs
are
very
simple
structures,
but
that
melody
keeps
changing,
A
B
C
D,
A
B
C
D,
I
think
is
the
way
it
goes,
and
it’s
about
seeing
some
people
who
are
ashamed
of
their
bodies,
in
particular
teenagers
with
eating
disorders,
not
feeling
comfortable
with
themselves
and
their
sexuality.
I’m
just
saying
to
them,
you
are
one
of
a
kind,
you
are
the
first
one
of
your
kind,
you’re
an
original
of
the
species...“You
feel
like
no
one
before,
you
steal
right
under
my
door,
I
kneel
‘cause
I
want
you
some
more,
I
want
the
lot
of
what
you’ve
got,
and
I
want
nothing
that
you’re
not,
everywhere
you
go
you
shout
it,
you
don’t
have
to
be
shy
about
it”.
So
it’s
a
“be
who
you
are”,
and
I
can’t
wait
to
play
it
live.
Edge
plays
some
extraordinary
piano
which
got
the
complexity
to
the
verses,
to
balance
that
anthem.
About
Love
And
Peace
Or
Else.
Adam
Love
And
Peace
Or
Else
had
a
lot
of
difficulty
getting
its
own
identity
when
we
were
doing
All
That
You
Can’t
Leave
Behind.
What
we
were
really
inspired
by
was
Brian’s
distorted
bass
keyboard
at
the
beginning.
Then
Larry
had
this
very
70s
glitter
band
drum
beat
and
we
just
thought,
this
has
got
to
go
somewhere,
we’ve
got
to
do
something
with
this.
We
tried
to
finish
it
up
for
All
That
You
Can’t
Leave
Behind,
but
it
just
never
gelled,
it
never
quite
worked.
Every
time
we
listened
to
the
out-takes
it
always
stood
out,
so
we
came
back
to
it
on
this
record,
and
Edge
came
out
with
this
killer
guitar
part
and
glued
it
together.
Bono
more
or
less
had
the
melodies
and
the
vocal
mapped
out,
and
I
think
the
middle
8
was
still
mapped
out,
so
it
was
really
once
Edge
had
put
that
guitar
part
down
that
the
song
was
there.
Bono
Love
and
Peace
Or
Else
started
off
a
few
years
ago,
and
we
could
never
quite
crack
it,
it
was
just
like
the
spirit
in
the
sky,
60s
psychedelic
riff.
Brian
Eno
was
in
the
room,
with
that
low
bass
sound,
and
it
sounded
like
the
end
of
the
world,
this
subterranean
bass
and
glam-rock,
day-glo,
gospel
melody,
“Lay
down,
lay
down
your
guns,
all
your
daughters
of
Zion,
all
ye
Abraham
sons”.
A
preacher-type
character,
cracked
but
making
some
sense.
It’s
like
the
Fly
went
to
the
seminary
to
become
a
priest,
and
ended
up
in
this
song…
something
like
that.
It’s
got
a
real
T-Rex
groove
to
it
and
a
Gary
Glitter
thing
in
there
with
that
boom
boom
boom
boom…
and
it’s
got
this
nice
picture
in
it
which
is
“when
enter
this
life,
I
pray
you
depart
with
a
wrinkled
face
and
a
brand
new
heart”.
This
baby
and
this
old
person,
an
image
which
is
nice.
And
then
there’s
a
lovers’
row
in
the
middle
of
it.
So
the
middle
of
this
stomping
tune
about
where
we
are
right
now
in
the
world,
it
does
a
Brian
Wilson-like
turn
left,
and
you’re
on
a
phone
call
with
“Hi
darling”
and
you’re
having
a
row
with
your
girlfriend
and
you
say,
“Look,
don’t
fight,
we
can
figure
this
out,
thing’s
are
going
to
be
ok”,
and
in
the
background,
as
you’re
talking,
there’s
a
TV,
and
“the
TV
is
turned
on,
but
the
sound
is
turned
down,
and
the
troops
on
the
ground
are
about
to
dig
in,
and
I’m
wondering,
where
is
the
love,
where
is
the
love”.
So
you
have
the
personal
and
the
political
come
together
in
one
little
one
scene,
very
cinematic.
Edge
It
owes
a
lot
to
Brian
Eno’s
incredible
synthesiser
sound
which
opens
the
song.
Then
Larry
and
Danny
Lanois,
Danny
on
shaker
and
Larry
on
drums,
playing
this
incredible
groove,
and
we
held
on
to
it
since
that
first
version,
because
we
knew
there
was
something
great
about
it
and
we
just
needed
a
song
to
set
it
off.
After
various
re-writes
and
different
approaches,
Love
And
Peace
Or
Else
eventually
came
through
as
a
song
on
this
record.
It’s
like
something
you’ve
not
heard
before,
and
I
always
love
on
an
album
a
thing
that’s
just
so
original
and
different
to
everything
else.
It’s
one
of
my
favourite
things
on
this
record
for
that
reason.
About
One
Step
Closer.
Where
did
this
song
come
from?
Edge
One
Step
Closer
started
out
as
just
a
chord
sequence
that
I
had.
When
we’re
jamming,
sometimes
I’ll
throw
in
something
that
I’ve
worked
up,
and
see
what
happens
to
it.
In
this
case,
we
were
on
one
of
our
jam
sessions
and
started
playing
the
chords,
and
Bono
came
up
with
this
amazing
melody.
Everyone
jumped
in
and
we
had
this
great
song,
but
it
wasn’t
until
we
started
deconstructing
it
with
Jacknife
Lee
that
it
started
to
show
what
it
really
could
be.
He
was
great,
he
worked
on
it
with
us
and
mixed
it,
and
the
song
is
a
lot
more
now
than
it
was
when
we
first
played
it.
It
was
actually
almost
Velvet
Underground,
a
sort
of
traditional
song
at
first,
but
now
it’s
got
this
far
more
complex
feeling
about
it,
and
I
think
lyrically
it’s
very
personal
to
Bono.
The
idea
for
the
song
lyrically,
the
one
step
closer
to
knowing
line,
came
out
of
a
conversation
he
was
having
with
Noel
Gallagher
about
his
father’s
illness,
which
at
that
point
he’d
found
out
was
terminal.
They
were
talking
about
how
weird
it
was
to
know
that
your
father’s
dying,
and
Bono
was
saying,
I’m
not
sure
he
has
a
faith,
whether
he
knows
where
he’s
going,
and
Noel
says
“Well,
he’s
one
step
closer
to
knowing,
isn’t
he!”
and
Bono
went
“Yeah”.
It
must
have
just
registered,
ok,
that’s
a
song,
and
two
years
later
it
came
back
when
we
were
working
on
that
tune
and
it
came
together
really
fast.
About
Yahweh.
Where
did
this
song
come
from?
Edge
It
was
one
of
those
songs
that
had
an
emotional
weight
to
it.
Bono’s
first
vocal
to
it
was
this
incredible
thing,
and
I
think
most
of
the
melodies
that
ended
up
on
the
final
version
were
written
in
a
matter
of
minutes
when
he
first
heard
the
piece
of
music.
Quite
quickly
after
that,
he
came
up
with
this
idea
of
calling
it
Yahweh,
which
is
the
name
for
the
most
high,
which
Jewish
people
do
not
utter,
it’s
written
but
not
spoken.
I
don’t
know
the
exact
translation,
but
it’s
a
sacred
name
for
God,
and
in
this
song
it’s
a
prayer.
I
can’t
really
explain
it
beyond
that,
it’s
one
of
those
songs
that
had
to
be
written,
and
again
we
just
got
out
of
the
way.
About
the
different
producers
on
the
record.
Adam
There
were
a
lot
of
contributors
to
the
production.
We
had
Steve,
who
I
suppose
did
most
of
the
second
half
of
the
record.
We
had
Chris
Thomas
who
did
most
of
the
first
half
of
the
record,
and
then
in
between
we
had
Danny
Lanois
come
in
and
do
some
work.
We
also
used
some
tracks
that
Danny
and
Brian
Eno
had
originally
started
on
for
the
last
record.
We
used
Jacknife
Lee,
who
was
a
real
find
on
this
record,
he
produced
the
Snow
Patrol
record
and
is
an
artist
in
his
own
right.
Also,
Flood
came
back
in
and
did
a
bit
of
work
with
us,
so
yes,
a
big
cross
section
of
people.
Edge
We
had
quite
a
few
different
producers
working
with
us
on
this
record,
and
to
their
credit
it
doesn’t
sound
like
we
did.
First
we
had
Chris
Thomas,
then
Steve
Lillywhite
coming
in
for
the
second
half
of
the
process,
Garret
Lee,
Jacknife
Lee
as
he’s
also
known,
and
Flood,
who
we’ve
worked
with
before,
has
done
some
great
work
on
this
record.
Even
Daniel
Lanois
came
in
for
a
week.
Nellee
Hooper
also
did
some
incredible
mixes
on
a
couple
of
the
songs.
But
I
think
the
songs
had
such
a
strength
of
identity
that
they
took
care
of
themselves,
we
didn’t
really
have
to
worry
too
much
about
the
identity
of
the
record
getting
lost
due
to
the
influence
of
so
many
different
producers.
In
fact
I
think
we
were
very
clear
what
it
should
sound
like
from
early
on,
and
everybody
found
a
way
to
contribute
and
bring
it
into
focus.
About
U2.
Is
the
band
playing
well?
Edge
I
think
through
the
album
sessions
things
developed
and
changed.
At
the
very
beginning
we
were
playing
well,
but
probably
not
as
well
as
we
have
done,
but
then
we
hit
this
period
at
the
end
where
everyone
was
playing
so
well.
It
was
incredible,
and
it
was
unexpected
because
you
get
used
to
a
certain
thing.
You’re
not
necessarily
complaining
about
it
but
you
feel
everyone’s
doing
their
best,
and
that’s
what
we’re
working
on
here,
then
suddenly
everyone
starts
playing
out
of
their
league,
and
we
re-recorded
a
lot
of
these
songs
as
a
result.
The
difference
is
huge
even
though
it’s
very
subtle,
and
you
couldn’t
necessarily
explain
why.
When
everyone’s
hitting
it
you
can
hear
it.
You
can
feel
it.
I’m
sure
it’s
to
do
with
things
like
commitment
to
the
song,
confidence
with
what’s
going
down
that
day.
A
band,
when
they’re
really
hitting
it
and
they’re
actually
on
top
of
their
game,
there’s
nothing
like
it,
it’s
a
completely
different
thing
to
a
singer/songwriter
or
a
guy
playing
with
session
musicians.
The
chemistry
of
a
band
is
what
it’s
all
about
for
me.
Bono
I
don’t
remember
the
band
being
in
such
good
form
since
perhaps
The
Joshua
Tree.
I
remember
when
we
finished
The
Joshua
Tree,
we
thought
it
wasn’t
great
but
we
knew
it
was
special,
we
just
weren’t
sure
if
it
was
great,
but
we
were
in
this
mood
we’re
in
now.
People
feel
very
good
about
it.
If
the
record
disappears
down
the
toilet,
never
registers
on
the
charts
and
people
say
U2
have
had
their
time,
they
can
fuck
off
now,
we
still
know
we’ve
made
a
great
record
and
we’re
feeling
very
good
about
each
other,
because
we’re
rough
on
each
other,
we
kick
the
shit
out
of
each
other,
pushing
each
other
to
be
great,
because
in
the
end
you
can’t
live
like
we
live.
We’re
living
it
large,
we’ve
got
great
places,
houses,
we
don’t
have
the
worries
a
lot
of
people
have.
The
one
part
of
the
deal
we
can’t
blow
is
being
crap,
and
I
think
we’ve
kept
our
end
of
the
deal. |
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