I don't like records that are the same from beginning to end, that are too styled and slick. Everything is so designed and airbrushed and Botoxed, it makes us think, 'Oh, everybody's perfect except me. Everything's smooth except me.' But nothing is smooth.

I learned what a lot of women have to do is make the guys in the room think it was their idea, and then you back them up.

I've always had as many powerful, creative ladies in my life as I have men, and you could probably describe some of those relationships as romantic. I think everyone's bisexual to some degree or another; it's just a question of whether or not you choose to recognise it and embrace it. Personally, I think choosing between men and women is like choosing between cake and ice cream. You'd be daft not to try both when there are so many different flavours.

I never want to know the range of my voice. It has to be impulsive, and I don't want to kill the mystery.

But I'm not interested in politics. I lose interest the microsecond it ceases to be emotional, when something becomes a political movement. What I'm interested in is emotions.

I'm not as religious as some people about "the album." To be honest, that was a product of a format. You had vinyl, and you could fit five songs on each side, and that's 45 minutes. You had A-side songs and B-side songs; I always loved the first song on side B. And there's nothing wrong with that. Prog albums of the 70s adapted to that format very much. But not all musicians want to create 45 minutes of music that has to be listened to in chronological order.

There's something about the rhythm of walking, how, after about an hour and a half, the mind and body can't help getting in sync.