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.

When I start working on a batch of tunes - like roughly 10 solid tunes - I always know there'll be another 10 to follow, because for every song I invest a lot of time in, there's another song waiting behind it.

To make a song is a gift, and once it's done it keeps evolving and changing and becomes a tool to interact with other people. It's like a conversation.

I've never been to Vegas, but I've gambled all my life.

I got on the phone with the president of my label and I said, "Obviously, I write songs in a lot of styles and play a lot of different kinds of music. We're getting toward the end of our business collaboration. If you could envision a record that you wanted to hear from me, what kind of record would it be?" It wasn't like asking him to fill an order, it was really just a conversation. For all the things I'd ever asked him, this was one thing I'd never asked, and I don't know why. So I was curious. And the thing that he was most interested in hearing was a solo record.

On Heartbreaker, I had to sing those songs. I drank the way I did those songs. I ate the way I did those songs. I communicated the way I did those songs.

You could eat sushi off my bookshelf. My cleaning regime is like a battleground. I'm Genghis Khan and my cleaning products are my Mongolian army and I take no prisoners. The rest of my life is an experiment in chaos so I like to keep my flat neat.