I wasn't making music for the sake of music but rather making music in the context of other music. At the same time, it doesn't mean I'm not going to try and do that some day.

You wind up listening to one song that you really like 30 times on YouTube and then you're done with it. That's the way it is.

Musically, I just think in terms of what's next. There's a lot of things I've always dreamed of doing, and I hope I get to them before I get too deaf.

Even I just listen to some bands on YouTube. I'll think, "Oh, I quite like that, I should buy it someday," but I don't get around to buying half the stuff I liked.

Most people just give up with time and go, "I'm a victim." The only reason I've got the reputation for delays and spending a long time on things is because I just don't stop.

The technical reason why remastering is valuable is because, up to around the late 90s, there was this endpoint called zero, and you couldn't get louder than zero.

The corporate system is fully psychopathic, and any creative people who enter into business with any of these organizations come up against a lifetime of issues. You just deal with it as you go along. It'll keep on happening until people reorganize the organizations.