Culturally, I found myself in a very weird situation: you were the person that had made that journey to the West, and then you were going back to comment on something, and then suddenly you were questioned and told, "You can't touch that now because you're a pop star."

I feel so terrible for the kids now. In London, even people in their forties can't afford to buy a house or have kids.

Retirement: a brand new beginning! How wonderful!

In my head I actually think my songs are pop songs. I think, Damn, that's a pop song! I can practice in front of the mirror with my hairbrush for as long as I want to. But when it finally comes out, it sounds avant-garde to people. Right up until then, though, I think, "Of course everybody feels this way. This song's the same as the Greek national anthem."

I named my first album after my dad because I wanted to find him. My second album was named after my mom because I felt like I learned all my creative talents I learned from her.

That's what New York is like - you can't have real art happen in an institution because rich people can make the world stop. The stuff on the street is a lot more interesting.

I come from a generation where you put the art out and had the luxury to sit back and watch the world deconstruct it, and that was valued. Unfortunately now the work lives in a weird context.