If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
What you want is for music to love you back. That's why you pay your dues. You want to feel like you belong and are part of this symbiosis, metamorphosis, whatever you want to call it.
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I saw a crow building a nest, I was watching him very carefully, I was kind of stalking him and he was aware of it. And you know what they do when they become aware of someone stalking them when they build a nest, which is a very vulnerable place to be? They build a decoy nest. It's just for you.
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For a songwriter, you don't really go to songwriting school; you learn by listening to tunes. And you try to understand them and take them apart and see what they're made of, and wonder if you can make one, too.
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Champagne for my real friends and real pain for my sham friends.
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There's not much difference between what I appear to be on stage and what I am. I think people like that, that I'm not trying to pull a caper.
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Any place is good for eavesdropping, if you know how to eavesdrop.
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My first big gig was an opening show for Frank Zappa, and I think that was difficult.
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You hope people are going to be listening to you after you're gone. And they like you better after you're gone.
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The only thing worse than being in the Hall of Fame is not being in the Hall of Fame.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
