The only thing that drives music is the people who are making it.

It's so interesting that humanity has to be defined by emotional strife or something. I don't buy into that.

I'm not talking about what came later [after the American underground punk scene], indie music, or whatever you want to call it, but the music that came before that - that's an important story. So many interviews with musicians get the time or context wrong. You have these older bands, usually men, who tell stories about "Oh, we got into this huge fight, this guy punched that guy," that's the wrong sort of story. My view of the time is truly pioneering.

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

I have other projects to do. I try not to let that documentation interfere with my present day.

If people want new music then they are going to have to figure out a way to be patrons of the arts. And they will.

Let's say for instance people say, "He's a really totalitarian, strict guy, he's hard to work with or whatever." I don't think it's true, but people's perception of me leads that direction, like I'm a fundamentalist person. I end up having to spend extra time saying, "I'm not a fundamentalist." I have other stuff to do.