That was how I got into music and art was being a battle kid from Jersey, so I didn't have these wonderful ways of learning commitment, dedication, practicing skill.

I'm at best on stage. It's one of the only places where I actually can feel like a million bucks.

I am not concerned about the 80 BMP consistency law of popular music. I'm concerned with other things, and they're very valid.

Being on stage, it's like, "Ooo-kay, now I remember why all this is going wrong or right!" It's very much my element.

Recording is a lengthy process, but onstage it's completely different; tape is not running - life is running, and cannot be rewound.

What I remove from my writing is linear context. It's not really important to me, because it doesn't give me chills to see, "you flip the latch and the lock opens and then you can open the top of the chest and inside the chest is this." That doesn't give me chills, to think in that vein. So I've always kind of avoided it.

I love the inappropriateness of age-old wisdom in modern slang. These things are all so wonderful to me.