There are certainly good examples of incredibly brilliant, beautiful music that has been made commercially available and sold everywhere. But I would say that, for the most part, quantity certainly does not speak well for quality.

The food thing is crazy to me. In this town the beer thing is also crazy to me. Frankly even with Brightest Young Things, it's such a celebration of [beer and food], all this stuff. I don't think it's bad or evil, but there's something out of bounds. It's like, "A bar opened!" Who cares? Think about that.

The archiving industry, much like the funeral industry and the wedding industry, these industries can be very exploitative.

When you're in a band and write a song on your own, it isn't fully realized until it goes into somebody else's ears.

I'm really anti-option, so computers have been my nightmare with recording. I don't want endless tracks; I want less tracks. I want decisions to be made.

Minor Threat was an important band, believe me that it was important it in my life, but it belongs to an era that no longer exists. I'm not nostalgic. I think music today is much more important, because something can be done about it.

One of my friends was a stage hand at a Bob Dylan show in the mid-90s and I remember him telling me that somebody crowd surfed during the gig. And this friend of mine was an old punk rock guy - he was totally humiliated by it. But some of Bob's people were there and they said, "Oh, Bob will be so excited! This is the kind of energy we want at his shows." That's where the old school was at.