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.

I'm used to coming up with a lot of parts. And I don't have to do that so much [with Divine Fits]. This is the kind of band I've always wanted to be in because we never set up any aesthetic rules when we started it. We just wrote and edited, and it ended up sounding like Divine Fits.

I had some really great experiences doing overdubs.

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."

I'm not the underdog, but - Well actually, I guess I've been the underdog. To me, it always felt like I was talking to "the big guy," you know, the big guy in the government, and trying to tell him about some things he didn't seem to be aware of. I just think that's a pretty arrogant group of liars we've got up there, and they don't really consider the abilities of their opponents.

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.