If we were making a record in Kentucky, there might be some more elements that recall a time, a place, or a relationship. Recording for the BBC you enter into this strange and wonderful, but kind of sterile, place with which you have no personal history, and that's the Maida Vale Studios at BBC in London.

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.

There's very little admirable about being a pirate. There's very little functional about a pirate. There's very little real about a pirate.

You make the world - with enough strength and enough luck you make the world that you live in. If you accept that there's participation to be done and an existence to be had - I tend to think there is only one way I want to go through this existence and that's with my eyes open and my chest out.

With women, you always have to make an educated decision to figure out what they're thinking. It's not one that's necessarily sympathetic, always. Of course, we're all human beings, but the gender thing is big thing. And a great thing.

I have a mantra that kind of explains my feelings on this subject, which is, "The past is the present is the future." When you're recording something, you're making something that will exist in the future.

The ideal is to put on shows where, if you go into the same space again, you don't remember ever having been there before, because where you were was a space that only existed that one time, created by the music.