Now, I don't want to give you the impression that I'm a great musicologist, but I'm a lot better than what I was described as for a long, long time; you know, people said I only knew three chords when I knew five.

this is every musician's dream, to stand in front of an audience and not have to prove your credentials.

And I'll dance with you in Vienna, I'll be wearing a river's disguise. The hyacinth wild on my shoulder my mouth on the dew of your thighs. And I'll bury my soul in a scrapbook, with the photographs there and the moss. And I'll yield to the flood of your beauty, my cheap violin and my cross.

It is different [to perform in Israel] because it arises from very deep wells of affiliation.

Today [people] are ready to take emergency cures, whatever they are, if it's violence, if it's a fascination with serial killing or whatever - the discomfort is so intense. Maybe it's always been like that, certainly it is now.

It just takes a long time for me [to write a song]. I'm very slow. And it comes, kind of, by dribbles and drops.

To have [Adam's Cohen] microscopic attention to my work was really a great privilege.