There's a vulnerability in music but you've also got to protect your sacred place and have a place you can still retire to that no one else knows about. So that's a thing I just try to balance.
I dropped out of NYU, moved out of my parent's house, got my own place, and survived on my own. I made music and worked my way from the bottom up.
There are Depeche Mode parties around the world where people listen to our music all night long. The more remixes we can give them, the more interesting those nights have got to be.
It's annoying when you've got a guitar and you're working on music and then you have to go and do the shopping or someone calls your mobile and you get distracted or you have to go out and do something.
He helped make Living Things even more crazy than I wanted it to be. He added old-fashioned piano and classical folk music - that weird otherworldly vibe - all these elements got onto the record.
Music is more emotional than prose, more revolutionary than poetry. I'm not saying I've got the answers, just a of questions that I don't hear other artists asking.
So for me, I had to get something going to promote the new project that I got. I decided to come with the 'Lost Jewelry' EP, which is a mixtape but it's more sexier because it's all fresh music.
Chuck Berry told me if it wasn't for Louis Jordan, he wouldn't have probably ever even got into music. That Louis Jordan changed everything and made him want to become a musician.
Everybody was on the same page. Nobody has really gone out there on a different musical journey. When we got back together again, we all wanted to do the same kind of music.
To play music, you have to understand it. I didn't understand 'Topographic Oceans.' That's why I hardly played on it. It frustrated me no end - and playing the whole thing on tour, I got farther and farther away from it.
Music really gets me going, so I've always got to make sure I have my iPod to give me energy to work out.
The music industry over there seems to treat America like it's one territory even though they got offices in different parts of America - they're still quite sort of 'America is the territory.'
You've got to go down the road you naturally go down, and for me it was pop, folk country, just feel-good music. I suppose most of my songs are very up-tempo.
I've actually been playing music ever since I was a young a kid. I got my first guitar when I was about 7 or 8 years old, so I've always been doing music.
After 'Return Of The Bumpasaurus' in '96, I just got away from music for, like, a year. Literally, I think I produced two songs in a year. I was totally kicking it, running around.
But recently I began to feel that maybe I wouldn't be able to do what I want to do and need to do with American musicians, who are imprisoned behind these bars; music's got these bars and measures you know.
Now the big question is if you are going to go to all the trouble of setting an opera and making all that music and so on, there's got to be some aspect that you can do in an opera that really makes it worth while.
I have got up at truly deplorable hours in the morning to confront Vancouver's Jack Webster on television because I have been told that is the place to get exposure for ideas.
He's got an overall flair for the game. It looks to me like he really loves what he does and he can't wait to get up in the morning, go hit some balls and go play.
I mean, if you have to wake up in the morning to be validated by the editorial page of the New York Times, you got a pretty sorry existence.
I've had some pretty awful jobs that I don't miss, like working on a nightclub door, or compiling VIP lists at 3 A.M. in the morning, but sometimes it's just got to be done.
