When I listen to little fourth-dimension artifacts, they're like they were made as time capsules in the first place. You know that when you're writing the song and recording the song, you're already sending a message to the future listener, whoever and wherever and whenever that will be.

People are looking for fame or a focus, and I can't provide that.

My dream many years ago would've been to continue to write and record songs in record/album form for years to come, but now records aren't what they were then - and so it doesn't actually feel very good to make a record of songs.

Making money is awesome and fun as hell, but they're saying, "Well, you're offered a whole lot of money to do this," and it's like, well, I do want the money, but I don't really do that - like headline a big festival or something like that. I could go there and do that, but it isn't really what I do. It feels weird to me.

I gathered all the different Peel Sessions recordings together - I did six or seven of them over the years - and listened to all of them. These definitely have at least a superficial relationship to each other because they're all very spare.

When I was a kid, I always thought that acting was going to be the way to go.

When you're listening to a recording, you're supposedly listening to some aspect of the past in the present as you travel slowly into the future, but you also know there's a very strong likelihood that the future of that recording, whether you made it or whether you're listening to a Led Zeppelin record, is going to continue probably far beyond where you are.