I kiss her mouth and I know... for everything there is a word... for everything but this.

Most of my songs are pretty sketchy. There's not a lot of bass sections. I don't write big bridges. Sometimes I'll try. But it's hard for me to focus that way, because I always think it's more interesting to just see what will happen next.

What I love most in life happens to be the very thing that I do day-to-day, as my work. What would be my hobby, you know, happens to be my actual job. So I'm very lucky. Even if I didn't want to do as much work as I do, I'd still feel compelled to, because I so longed to be a full-time artist, and since I've been given that opportunity, I'd never want to let down the gift.

For me, a record is valid when I actually hold the vinyl. Like, I've worked on the art for a while and I see the vinyl and I go "Ooh, it's an actual LP. How cool is that?" That's very sacred to me. You can't take that back, you know?

There's all these musicians in the world, and anybody that takes enough time to create a record or even think about the fantasy of rock & roll, I mean, it's a really vulnerable place to be in. It's a huge thing to do.

I like the idea that within the structure of the song, some kind of built-in improvisation keeps them fragile and in their moment, so that I'm not projecting so much, so that my perception of the song doesn't interfere with what its real body is. Sometimes it's like telling a story that I heard in passing, and I don't want it to become completely mine.

It's like — I don't know, sometimes it's like chasing a pretty girl on the beach. And things I never thought I could do... I can do.