We've had experience of involvement in a local scene, and it was a good one, and we've learned a lot from it, and I don't have any need to join into that ever again. It's too counterproductive to writing music and performing to the best of your abilities. It's okay when you're 20 years old - you're getting out there and you're learning - but not when you're 30 years old.

I want to be part of the resurgence of things that are tangible, beautiful and soulful, rather than just give in to the digital age. But when I talk to people about this they just say, 'Yeah, I know what you mean,' and stare at their mobiles.

I'm excited by the band [White Stripes]. It really excites me. But it wouldn't excite me if there weren't those limitations, if we weren't living in that box, if we weren't trapped. Once that goes away, then I'll know that it's not worth doing it any more.

Nashville has always felt perfect. I don't think Third Man Records could exist in any other town that I know of in America. Anything smaller or larger than the size of Nashville, and also the music - the attention that's paid to music in that town is sort of the right kind. It's not too hipster and it's not too fake; it's something in the middle, which is really good ground for a place like Third Man Records, that aims to be genre-less. It's great to be able to have that kind of access.

There's Catholic guilt about things, then there's the guilt of being the youngest of 10, so when nice things happen to you, you're not really allowed to enjoy them.

Promotion and perception are synonymous twins of art marketing.

The bottom line is we must get off our duff and make an effort to succeed. Trust me on this, when you see someone successful in any of the arts they have been willing to make an extra effort.