I should be able to look at my accolades and go, "Come on, Paul. That's enough." But there's still this little voice in the back of my brain that goes, "No, no, no. You could do better. This person over here is excelling. Try harder!" It still can be a little bit intimidating.

When I see bacon, I see a pig, I see a little friend, and that's why I can't eat it. Simple as that.

The most important ingredient to making a song work is the magic. You've got a melody, you've got words, but on the more successful songs, there's a sort of magic glow that just happens and you can feel it happening. It just makes the songs sort of roll out.

There are a lot of artists who haven't lost anything to domesticity. In my case, it probably did happen.

When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.

I tried heroin just the once. Even then, I didn't realize I'd taken it. I was just handed something, smoked it, then found out what it was. It didn't do anything for me, which was lucky because I wouldn't have fancied heading down that road.

Love Me Do, the first song we recorded, John was supposed to sing the lead, but they changed their minds and asked me to sing lead because they wanted John to play harmonica.