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.

Steven's [Sebring] presence was not threatening; he told me that if I never wanted the footage to be seen by anyone, he would give it to me. So I had nothing to lose and everything to gain, and what I gained was his supportive energy and the supportive energy of his wife, who was sometimes the one schlepping the equipment or doing the sound.

We learned we wanted too much. We could only give from the perspective of who we were and what we had. Apart, we were able to see with even greater clarity that we didn’t want to be without each other.

I have vague memories, like impressions on glass plates.

We tried not to age, but time had its rage.

Why do people want to know exactly who I am? Am I a poet? Am I this or that? I've always made people wary. First they called me a rock poet. Then I was a poet that dabbled in rock. Then I was a rock person who dabbled in art.

Obviously, I'm not homeless. I'm not an old alcoholic. I'm not jumping trains. I just like to live in a certain way.