I definitely was always expected and encouraged to be a songwriter from a very young age, ... But really it's because, as a child, I thought I was Judy Garland. And when I started out, I was a little nuts. I thought I was a classic, legendary superstar when only 10 people knew who I was. I feel in some ways that my confidence is misinterpreted as arrogance, which is understandable. But I've also always thought that false modesty is evil.

When it comes to sitting down and composing, there is no hesitation, no concern, no critics breathing fire down my neck. For me, writing a song is the purest part of all. No one can mess with that.

The song is about knowing the end result of every situation you're in, and being able to play it out in your mind and see it before it happens. It's about addiction, really, about knowing how it's all going to end up. In that sense, you're watching a movie of yourself all the time - and then you want out of that movie.

What I love about my daughter is that she is going to definitely allow me and force me to change my life and slow down and make it more about the real things in the world.

I've developed into quite a swan. I'm one of those people that will probably look better and better as I get older - until I drop dead of beauty.

I think my mother, more than anyone, knew the importance of inspiration. If it was occurring, you had to use it.

When I was young, my mother [folk singer Kate McGarrigle] brought home this recording of Verdi's Requiem and we listened to it from top to bottom. By the end of it, I was a completely different person. It was literally a requiem mass for my former self. I was about 12 or 13. The Requiem just totally hooked into what I was going through emotionally - discovering my sexuality right at the time when AIDS was devastating my community and dealing with intense parental situations.