I try to write lyrics that will be able to function on their own if they get separated from the music. But I wouldn't want to take anything away from poets, who work without the frames songwriters get from melody, and I think lyrics should be considered as their own thing.

There are definitely parts of me in most of the protagonists I write, but I find a bit of distance can be useful, so I often find myself better able to write from a point of view that isn't exactly my own.

I think of Gord Downie voice as Whitman-esque. He has a poetic voice that contains multitudes, both the suppleness of the instrument of his voice, and just the lyrical boundaries that he pushes, which are really always thrilling to me.

I think we all have a certain number of "coming of age" songs, and then a writer has to expand and grow into more varied and specific themes. And the music industry is, like Jawbreaker says, "selling kids to other kids," so it makes sense that those early songs in a writer's life are often the ones that catch people's ears, and later work is more difficult and less immediate.

A more detailed world is a more complicated and complex one, and therefore a more empathetic one. I feel Gord's Downie lyrics are exceptionally empathetic, or that's what they accomplish. The fact that they can cross all those cultural cliques and boundaries really amplifies that, to me.

I do get a little shy about contemporary language and events, but I also enjoy the idea of dating myself, somehow, anchoring a song in a specific time and place. Sometimes the new words and objects are too enjoyable and descriptive to ignore. And maybe making work that acknowledges that it won't last forever is important, too.

John Berger once defined music by saying that it began as a howl, became a prayer, then a lament, and still contains the elements of all three. I think that's pretty wise. That's about the only way I know how to explain what music is.