Everybody's out trying to be commercial. I'm not trying to be anything, really.

I have a real soft spot for flying saucer songs and Frenkenstein songs. When I was a kid the first record I ever really liked was called "The Mummy", and the flip-side was called "The Beat Generation" which Richard Hell later re-wrote as "The Blank Generation". I thought it was the greatest thing I had ever heard. I didn't like Elvis much then, but I was very young. When I was a kid I used to play that monster all the time!

I always like junkyards. All this metal piled up - they're filled with pathos, those places. Much more pathos than most of the music I've heard. You look at it, and there's more feeling, even though it's depressing, than there is in a lot of music I hear these days. A junkyard is what it is, whereas listening to a record by, say, Styx, is something else.

With my records, it's just a matter of trying to create something fresh for myself in a very finite context, which is the pop song. I don't know anything about the people who buy my records, and what, if anything, they get out of them.

In Old English they don't say I had a dream, but there's another usage of the word - "life is but a dream," to be corny about it. It's implied with eyes wide open, rather than asleep. But I'm not a philosopher to explain myself. I wish I could. Maybe that's why I'm a musician.

I think almost every woman artist I've ever met has this ideal of being in a partnership working situation with a man, that men don't seem to share. They seem to want this ideal thing, that we'll always be together and work together.

I'm kind of proud of that little record! I mean I've heard about a million other records that have come out since then by all these groups around here and there and I really like 'Little Johnny Jewel'.