I like Madonna a lot. I think she's really good and I think she's a good singer. I think she looks good and she's got a nice kind of... I don't think she's got a sinister or cynical vibe around her, and I don't think she's got any sort of bullshit around her.

The cliché of that sort of wasted, renegade, drugged-out musician of the '70s is kind of dead and gone now. And I suppose that a lot of people still keep relying on that, or some kind of image to perpetuate something that they think they're supposed to sound like. But that kind of takes you away from real inspiration and, you know, real artistic discovery of the individual.

You try to be arrogant in songs because you can't be in real life.

Let's get rid of all the economic (expletive) this country represents! Bring it on, I hope the Muslims win!

The people who are making a lot of money and eating at McDonald's and watching MTV and have square eyeballs, they're over there. And then maybe there's like five other people left in America and I'm just waiting for them to come up with something interesting.

I've done lots of songs for film soundtracks and things like that-stuff I'm not ashamed of, but that doesn't represent my legacy with the Pretenders...I think domesticity certainly doesn't make it easy to write, you know, because you've got a lot of distractions and I think a writer is always looking for distractions.

The Clash were innovative, radical and helped drive a change in music that was ground-breaking. In comparison to some of the music today they sounded like they meant it. I still listen to their music today to remind myself what music made with commitment sounds like.