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!

All the Frank O'Hara types seem to have very little sound stuff going... it's so chatty or something.

Places like Belgium and the south of France, Sweden and Copenhagen are really alive. They really love rock 'n' roll, they really respond.

Johnny Jewel is how people were maybe two hundred years ago. Back then, when people got up in the morning, they knew what they had to do to get through the day - there were 100% less decisions. Nowadays, we have to decide what we want to buy in grocery stores, what job to take, what work to do. But not Johnny. For him, it's all right there - it's a freer state, and that's what my music is looking for... ... To understand Johnny, you should think of William Blake. He was the same kinda guy.

There were a lot of things I listened to, but so-called pop music never killed me, you know, the type of stuff that always seems to make it on the radio. The whole radio thing seems so... it's like they've accepted the whole "new wave" thing only because this kind of pop element came into it. In Europe they really love emotion, but here it's like, "let's stay away from it because we might cry or something".

I don't think Marquee Moon was so good, y'know? Just another record. First records everybody likes a lot.

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.