Sometimes you write passages that don't need to be rewritten. Performance is that for me. Improvisation, things that happen in the moment, are sometimes wonderful, or wonderful as a moment to be shared between performer and people, but that's it. There might be a strong bond between you and the people, a transformative night, but as a live record it might not translate.

Eyeing the traffic circulating the lobby hung with bad art. Big invasive stuff unloaded on Stanley Bard in exchange for rent. The hotel is an energetic, desperate haven for scores of gifted hustling children from every rung of the ladder. Guitar bums and stoned-out beauties in Victorian dresses. Junkie poets, playwrights, broke-down filmmakers, and French actors. Everybody passing through here is somebody, if not in the outside world.

I think some of that hopelessness of my generation got passed on to later generations - the sense of uselessness.

I like my time on earth. And no matter what kind of cards I've been dealt, I'm happy to be there.

I had a really happy childhood - my siblings were great, my mother was very fanciful, and I loved to read. But there was always financial strife.

When I started making music, we'd lost a lot of our great people. Rock was moving in a direction I didn't like. Rock was my generation's revolutionary, sexual, poetic, and political voice, but it had become corporatized. It was going into stadiums. It was so far removed from its basic roots.

I was like one of the boys in school who flap their legs frantically under the desk. I always had this weird feeling between my legs and I had no idea what it was. I didn't know girls masturbated. I never touched myself or anything.