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.

All you do is you go back to the Maida Vale Studios at BBC in London, and it feels like you're in a spaceship. It feels like you're in 2001 or something like that. It's massive and well constructed and highly technologically advanced and occupied by these wise scientists, engineers, and producers. Listening to it, it just doesn't sound like me - that's a younger self that didn't know who he was or what he was doing. I can't identify with a nebulous cloud.

There's nothing that compares to watching that final of Charles Mee’s 'The Glory of the World' play at BAM17 to 20 minute sequence in one sitting. It fills you with a giddy energy watching that. Then, being gifted with the silence that follows...I've never had a theatrical experience like that before, I'm sure.

A vocal performance “Coming Together” is hard, but it's the kind of hard that if you work hard enough at it, you can do it and it feels great, because it was so hard. So we'll continue maybe even over the next couple of years to perform that and to expand our collaborative repertoire.

Whenever I see something that looks like it could be good - whether it's on vinyl, CD or cassette - if it's not too expensive, I'll take a chance.

I'd like my records to reach as many people as possible, but I'm also thinking in terms of how I can keep from getting jaded or unhappy with the process.

I don't know the reasons why something is intimidating to me or disgusting to me and I don't like feeling that way, either. I don't like it when something turns me off, on any level. So, its a matter of saying: Well, I can either sit here and reject, or I can do double-time embracing of something else just to reassure myself that I'm not against the world.