My song titles have different reasons for the mistakes. "Don't You Evah," that's just the way that I've always said it, and I just thought it was funnier. "Yr." in "You Got Yr. Cherry Bomb", it's that punk-rock way of writing "your," like "Kill Yr. Idols." And "Rhthm And Soul" was just an actual typo that someone pointed out, and I just said, "Well, I guess that's the way it's gonna be."

I'm never trying to be commercial or accessible, or saying "let's do this weird stuff, but at the same time we gotta do this safe stuff".

The fastest I ever did that was when Kill the Moonlight came out after Girls Can Tell, and I remember both labels I was working with at the time saying, "If this was any other period, I would probably say this is too fast, but because this is first time anybody has ever paid attention to Spoon, let's keep it on an upward trajectory."

My problem was never with the major label, it was with the guy who we put our trust in and then wouldn't take my phone calls once we'd signed to a major label, who then quit.

If I was talking about making a song special, I probably meant getting the lyrics and arrangement together, or getting some instrument that's going to tie the whole thing together. That can take months, or it can happen really fast.

Sometimes it's hard to hear criticism, or "maybe let's try a different way." People's feelings get hurt.

It's cool because you don't know how certain songs are going to go over until you play them live. For some reason, "Shivers" gets a huge response. I was not expecting it. When I start singing in the middle of "Baby Get Worse", they go nuts. Just little surprises like that.