At a young age, I really wanted to make music and make my own sort of thing. I'm sure if it wasn't music, it would have been writing, or it would have been maybe painting. I just always had the drive to try and make something with my hands and to just pull something out of myself and shape it and see it in front of me, if that makes any sense.

There's a segment of this world, there's a mind state that's permeated the intellectual consciousness of this world that comes from a certain type of people that looks at me and you and your average individual as a problem - like a blight on an otherwise potential paradise, something that needs to be cured.

My relationship to Brooklyn is probably the relationship that any 40-year-old man has to his hometown, which is that this is where I live, this what I know, yet it's different, it's changed. My fascination with the city has maybe subsided and now it's just where I'm from, where I live.

I would feel pretty embarrassed if I was doing what I do and I wasn't at least attempting the eloquent translation of the human experience in some way.

I think that everyone who does music, and everyone who does art, or everyone who decides at a young age that they're gonna do that, is someone who feels like an outsider. The world is not really set up for that.

Trying to separate myself from my instincts of pessimism and cut out and define what it is that I really do love, what I'm here to be, why I'm here, and what I think is worth being alive for and fighting for. And those things change, but I think that that's something I am always chasing.

The only thing an artist is useful for, and the only reason why we don't just line 'em up against the wall and shoot them, is because, at their best, they're the reflection of our lives, that most regular people can't even afford to think about.