The Edge was born David Howell Evans, in Barking, Essex in 1961. When he was 2 the family moved to Dublin. During his childhood he learnt how to play the guitar and the piano. In 1978 the Edge became the guitarist and keyboardist of U2. The Edge is still in the group, who have conquered the world for nearly 30 years.IMDb Mini Biography By: Richard Baker
|Morleigh Steinberg||(18 June 2002 - present) 2 children|
|Aislinn O Sullivan'||(12 July 1983 - 1996) (divorced) 3 children|
Edge often wears hats to cover his receding hairline
Distorted, acoustic, and digitally-processed guitar work and playing
Variety of guitars, often uses Gibson Les Paul
Black Chuck Taylor All-Stars shoes
Guitarist, keyboardist and sometimes the songwriter of U2.
Three children with Aisling O'Sullivan: Hollee (b. 1985), Arran (b. 1986), and Blue Angel (b. 1989). Two children with Morleigh Steinberg: Sian (b. 1997) and Levi (b. 1999).
U2 played the former Welsh national rugby station on the first night of the 'Joshua Tree' tour on 25th July 1987. This dates was hastily arranged after a fan had organised a petition of 10,000 signatures pleading for U2 to play this venue. During the show The Edge kicked a rugby ball out into the audience after Bono had said that The Edge's father (Garvin Evans), a Welshman, had predicted that one day his son would play rugby at Cardiff Arms Park.
Although U2 as a band are Irish, The Edge is of Welsh decendancy, his parents hailing from the South Wales town of Llanelli.
'The Top Ten Guitar Heroes' list in 2001 named The Edge as the 7th top guitar hero, behind the likes of Jimi Hendrix, Eric Clapton and 'Hank B. Marvin', but in front of Carlos Santana and Ritchie Blackmore.
Moved to Ireland when he was just a year old, with his parents and his older brother Richard.
Christened 'Dave Edge' by Bono, because he was on the edge of things, assessing what was going on and partly because of the shape of his head, which had a straight edge.
Supports English football team Leeds United.
Owns a home in Malibu, California.
Presented the honour of Amnesty International's Ambassador of Conscience to Peter Gabriel in 2008.
People always ask us if we think our songs can really change anything. And I always say that's not why we wrote the songs. We didn't write them so they would change the situation.
When I came along, there was a clear need to reassess the instrument. I was drawn to the idea of minimalism. To get the maximum effect from the minimum number of notes. There was a clear need to change the furniture around. (On playing the guitar)
During my time as a performer, I've certainly felt that I was seeing the end of the guitar.
"All That You Can't Leave Behind" was a chance to rediscover the core chemistry of U2 as a band. On the previous record, Pop, we had deconstructed the concept of the rock 'n' roll band and then on the PopMart tour we'd celebrated the surface of things, not in a cynical way but in the spirit of Warholian pop art. Even so, I think we also realised that in the process we had lost something and the attempt on "All That You Can't Leave Behind" was to find that thing again: what it was to play in a room as a band and to rediscover the eccentricity and elusiveness of what a band can do when they're performing together.
Songwriting for U2 is always a very ambiguous process. We write as we record, but in the case of Pop we took that to the nth degree. The loops and machines offered an endless amount of options and in U2 options are not your friends. Limitations, in fact, are often really the thing, and we've made full use of our limitations over the years.
When you think you probably don't need to be recording then you definitely should, and when you're pretty certain you ought to be recording you probably don't need to. Literally, at any second, if everyone's in the room, then something great can happen.
"Beautiful Day" itself had come through various different incarnations and though we'd always felt it had something, it was kind of hard to see where it was going. Really, the moment it got exciting was when Bono hit on the lyric: "It's a beautiful day". It seems in some ways such a banal sort of lyric, but combined with the music something wild happened and we all recognised it. Then Brian's (Brian Eno) contribution was that fantastically Euro kick drum opening and keyboard line, and that gave us the clue as to where it should go next.
It's often the case that our most luminous moments have a pop quality. In the end, we're always trying to express something in the most straightforward way and that's also true of great pop music. It's about clarity and it's about ideas that resonate. I'm a big fan of pop - I just wish I was better at it.
The songs we record are always changing. They seem to have a new aspect depending on the time and place of their performance. Some need to be retired for a while so we can see them in a fresh way, but the best songs seem to always connect.
You can't fret about your songs being too popular and I always get a thrill when I hear one of our records out of context.
We were also reclaiming, I guess, some of the best-known musical and sonic hallmarks of the band, on the basis that if everyone else was ripping us off, why couldn't we? (On "Beautiful Day")
Of course we want to be tax efficient - who doesn't?
What I hope people pick up from U2 is that individuality is the crux of what rock'n'roll is about. Every single person who picks up a guitar has the potential to do something unique, and they thwart their potential by trying to sound like other people.
Rory Gallagher was the man for any music fan from Ireland in the mid-1970s. Especially for someone like myself who was trying at the time to master the electric guitar. He was a hard act to follow. He had an ease and command that was enviable. He left us too soon but his legacy is evident in the number of young guitarists who are drawn to his music, and through it to the music that inspired him, the Mississippi Delta blues.
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