Speed eventually neared its peak. The records forced me to work ever harder to drop a less and less time. These time trials came to feel like races, which are fun to run sporadically but not daily.
Hanging out is a waste of time. The only time I would hang out was when I was a kid, I would hang out in the streets. But once I started making records, I stopped hanging out.
By the time I got to record my first album, I was 26, I didn't need pen or paper - my memory had been trained just to listen to a song, think of the words, and lay them to tape.
My process is to be by myself when I record. It's quite an emotional performance to pull off when someone else is in the room. I prefer to go away and have my own time with it, bring it in later.
It can get a little costly if you try and leave it until then to write songs. But you're writing all the time. You're collecting songs. I've had songs that have been collected over a two-year period for my next record.
I made that first record in 2008, alongside the EP, but my label at the time waited three years to release it. They thought maybe someone bigger would buy it, but they didn't, so in the end they just released it themselves.
I'm very conscious of people having pretty short attention spans: I know, I'm guilty of it. I'm 17 now: what happens by the time I'm 21, am I a burn-out or something? Will they still listen to my record?
I always kind of think if The Beatles were still around now, people would've lost interest quite a long time ago. Seven years of recording - it's there forever. I think not outstaying your welcome is a vital ingredient.
Everybody gets to a stage when it's time to move on. I was bored, and the band wasn't going anywhere, so I left. I did a couple of shows on Broadway and some other things. I was busy. I just wasn't making records.
At one time they've been the most important thing to me. So I can't hear our records on the radio, I can't stand it, because they sound so out of what everyone else is doing.
I've written a song for Prince. I never showed it to Prince, but just to see if I could do it. At the time, when I sort of knew him, he was recording a song a day. I wondered if I could do that. So I wrote it.
Trust me, I did not set out to establish three pen names and, for the record, I do not recommend it as a career strategy. The idea back at the start was that I would stick with the name that proved most successful.
Trust me, the only real way to understand 'Chic' is in highfalutin terms. Our chord progressions were based on European modal melodies. I made those early 'Chic' records to impress my jazz friends.
If there was ever any truth to the trickle-down theory, the only evidence of it I've ever seen was in that period of 1960 to 1965. All of sudden they were handing out major label recording contracts like they were coming in Cracker Jack boxes.
Quint: Here lies the body of Mary Lee; died at the age of a hundred and three. For fifteen years she kept her virginity; not a bad record for this vicinity.
[first lines] [At Parole Hearing] Woman's Voice: Good Morning. Danny: Morning. Woman's Voice: Please state your name for the record. Danny: Daniel Ocean.
Personnel Officer: How's your driving record? Clean? Travis Bickle: It's clean, real clean. Like my conscience.
I suspect that we might actually start selling some records with these artists in about 10 years. Some the people who invested, they're a little tight-because it's a lot of money to start up a company.
Record sales don't really mean anything. For us, the pressure is imagining some 15-year-old kid in Cincinnati who buys our album and doesn't feel like he wasted his pocket money.
Yeah, if someone's selling downloads and collecting money for our songs I would be unhappy about that but if they're trading it I don't mind, obviously if I make a thousand records or CDs or whatever, I like to sell a thousand.
No one starts playing my kind of music to make a fortune. But I do want to keep doing what I do and I do want to continue selling records. And I would, eventually, quite like some money.
