You can't get so interested in just making sounds. The point of it all is some kind of expression.

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

When somebody turned me on to a Coltrane record around seventh grade, I took up saxophone.

I always thought I was commercial. I always thought I was writing hit singles. These days, whatever's on the radio is considered commercial. People like what's on the radio, whatever it is.

I can't presume to speak for the others, but I never felt anything negative from anyone when I was onstage with Television. When I played rhythm behind Lloyd, the only thing that concerned me was to push him as hard as I could so that he'd go beyond what he was capable of and come up with something new, and vice versa. That's the only thing that mattered.

Emily Dickinson has great sound and sense.

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".