"I don't feel any form of music is beyond me in the sense of that I don't understand it or I don't have some love for some part of it. And if there's something in it that I can respond to, then there's something that I might be able to use as a composer. There are records of mine that have had smaller audiences and have provoked really drastic responses from people — particularly from critics — who maybe don't have quite enough time to live with the record or accept that a piece has its own integrity."

“Obviously, when I started out, I had a little bit more curiosity than some, and went seeking out the original artists, or in some cases searching up country music. I followed The Byrds a lot, and then when they did a country styled record it made me curious to know who these people were that they liked.”

“I've had a lot of different experiences in music over the years. And not everything you do can satisfy everybody's idealised version of you.”

“What shall we do, what shall we do with all this useless beauty?”

“We stayed out of Memphis early on in the late 70s for obvious reasons. People were very sensitive about Elvis Presley, and my stage name obviously would be provocative to some people in that area at that time. So we didn't visit Memphis until about 1984.”

“I can't actually play any instrument properly. I can't read music. And here's the New York Times calling me the new George Gershwin. It was so ridiculous, really embarrassing. It was embarrassing to watch these people fall into the trap of their own critical conceits.”

“Then I became an altar boy because of the solemn face, but I got thrown out at fourteen for laughing, because the priest used to mumble everything except the church plate takings.”