I never had any expectations of winning a Grammy. It wasn't something I was set on, that I was hoping and praying and starving for.

I'm more critical of my songwriting than anybody, but I've worked really hard in the last five to 10 years to improve.

I've been arguing with people for 10 years about tape versus digital, and I believe tape is absolutely essential in getting the sound that's conducive to the enjoyment of music.

No one should drive a hard bargain with an artist.

I know my own limitations. And if somebody says, "I need songs for a cartoon garage band - they look like this and they should sound like this," it gives you a direction. I like having that kind of assignment.

For the records I've work on over the last 10 years, I get sent the really compressed version and the non-compressed version, and oftentimes you end up going with the more compressed one because it's what people's ears are attuned to. I think the bigger problem is saturation and people being desensitized.

Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.