Many of the songs were written as a way of paying tribute to specific people, but in the end the songs took on a life of their own and I didn't worry about accuracy or biographical truth, so it's not a problem.

I could never release something on the label I didn't personally love. The label's really an extension of my own musical career, and I'm intensely involved with every aspect personally, so it'd be a betrayal to myself if I released something simply because I thought it would make money.

The sexuality of children - there's a lot friction there. That tension interests me a lot.

I don't throw my body down on the stage at all anymore because I'm sure I'd snap like a twig.

I don't want to sound like everybody else.

The music takes you. It has to be alive. It's like you hammer something, and the way it happens to bleed leads you into new directions.

The goal is ecstasy, but I don't want to make some sort of saccharine pop music. I want to make something that's completely uncompromising: the best possible music ever made.