I don't know if I can handle living in Tokyo. I feel like the culture shock would be so intense, especially with the service industry in America - you can't make up for that. Once you get a chance to travel a lot, you start to realize when that waitress comes back and asks you if you want some more to drink, that's an important moment. Nobody else does that!

I remember swallowing my tooth up in a high chair, but I definitely don't remember the first time I played bass. It was like, back there!

I couldn't tell how many times I've been to Japan off the top of my head, I just have a few standout moments that were very defining and inspirational at different parts of my life. As far as moving there, I don't know. That's a tall order there. I feel there's people that go so far as to do that, and good for them, but I just can't. For me it's not a misplaced passion or a weird infatuation - it's more like I've just had a good chance to realize how immensely their art has affected our American culture, and I don't take it for granted. I've got a very big appreciation.

When I was younger, I was always a musician that could play by ear better than I could analytically.

I don't know if I can handle living in Tokyo. I feel like the culture shock would be so intense, especially with the service industry in America - you can't make up for that. Once you get a chance to travel a lot, you start to realize when that waitress comes back and asks you if you want some more to drink, that's an important moment. Nobody else does that!

You don't have to just hit nails with hammers, you know; you can use a hammer to beat somebody's brains in, to make armor or break a car window. You can do all kinds of things with your instrument outside of its surface purpose. My bass is my crutch but the best crutch I could have.

As time progressed, my songwriting developed out of my bass, because that's all I could do. I decided to take it as far as it could go and to use my skill as a tool.