I think that providing obstructions in the live setting is when you get something that actually means something, as opposed to just aping your way through your greatest hits.

I try to make myself, and subsequently the audience, as uncomfortable as possible, whether it's completely desecrating a song they thought was one thing, or getting too drunk to really do a very good job.

You know, there's an economy in lyric-writing that doesn't afford you, or at least me - I usually start off with nine or 10 verses and then boil it down to two or three that are half the length of the original verses. I think for me it's about what you leave out [rather] than what you put in. I'm not sure that the songs help me figure anything out so much as they're a distillation of the original question.

My humor is my creativity, and my skepticism is a gift.

I don't feel any obligation to make my intentions for a song accessible to a listener or an audience. I'm not interested in conveying anything to them so much as what's best for me.

My idea of that[idea of career] is constantly changing. I mostly just throw it out to the universe and I can't really do much after that. I've never taken the steps to be "successful": I've never had a manager or signed to a publishing house. I've talked to people about it but I've never followed through because it gives me the creeps.

I think that providing obstructions in the live setting is when you get something that actually means something, as opposed to just aping your way through your greatest hits.