It's great when you play to an audience that knows the words to all your songs, and sings them back to you.

When that much time goes by, you're really listening to your old music differently. At the time it's written, it was the beginning of our career and with every song we're thinking, 'This is what's creating us.' Now, nothing is creating us. We're well-created. We're there. It becomes just pure pleasure and you become sort of an archeologist of your own music. You don't judge it, because what's the point? It's a 30-year-old song. It just becomes fun.

Sometimes, if a song is written, in essence, to be that stripped down, it's very touchy when you start adding things, because even the smallest thing can have a huge impact. Somebody has to make the decision that there's a better song in there if there's less.

Children should always feel like the adults are living in this world to nurture them, to take care of them, to protect them from any bad thing that might come.

If you are trying to think ahead musically, it is not going to help you. It is better to ignore what is happening melodically and just look at the little dots coming at you and the corresponding colors and try to do it at the right time.

I can go from one extreme to another, from playing at the Sydney Opera House on the Songbook tour to shows with Soundgarden at Voodoo Fest, all in a week.

There's something about losing friends, particularly young people, where it's not something that you get over. I don't believe there's a healing process.