Every time you go in, it's like starting over. You don't know how you did the other records. You're learning all over. It's some weird musician amnesia, or maybe the road wipes it out.

I'm the artist formally known as Beck. I have a genius wig. When I put that wig on, then the true genius emerges. I don't have enough hair to be a genius. I think you have to have hair going everywhere.

There's never any pressure on the music having to be something.

I'm just taking one step at a time. I could zigzag one way, but it's not usually on purpose.

Two men look out the same prison bars; one sees mud and the other stars.

Sometimes things in life take a few years to digest, and they find their way into the work later on. Sometimes I'm writing about things from eight years ago-they just took a long time to distill and come out in the appropriate way.

There's 40 or 50 songs that nobody's heard that I've done in between albums. There's a whole evolution from Midnite Vultures to Sea Change that's never been released.

If someone is making a judgment when they don't have firsthand experience, it's intolerant. How can you make a judgment on something you don't know about?

We play a hip-hop song and suddenly 25 people on the left jump up and put their hands in the air; then you play Lost Cause and they're like, I don't know about this one.

It's really hard for me to commit, one way or the other. I was just always creating and seeing what came out.

I did that Grammys thing - I did a little freeform poem.

When my nephew was 3 and 4, he would say the most genius things. He said, You're hammer macho with FBI dogs. I thought it was just one of those great lines.

I hear a lot of bad TV commercials that try to sound like Where It's At. That pretty much turned me off from using the electric piano for a lot of years.

In Japan, you get on the bullet train or the airplane, and I loved the little speeches the stewardesses would do. They even do little speeches before you play gigs.

When you work with somebody for a long period of time, you develop a shorthand with everything.

The repercussions of what you put out and what people gravitate to in your music never registered at all. I never had that thing that maybe other bands have - a specific idea of what they are and what their sound is.

I hadn't done much rapping in a while. I really wasn't sure I was going to do that any more. For a couple years I thought I was done with that. It wasn't really required of me.

Sea Change was so specific. From the beginning it was set what it was going to be. All the other ideas that I had at the time I had to put to the side.

I would love to do an electronic record. There's just so much to see and do and try. And life goes by.

There are a lot of people who really abused sampling and gave it a bad name, by just taking people's entire hit songs and rapping over them. It gave publishers license to get a little greedy.

I had long hair when I was a teenager.

Tonight the city is full of morgues, and all the toilets are overflowing. There's shopping malls coming out of the walls, as we walk out among the manure. That's why I pay no mind.

Anything goes. You always find interesting things that way.

There's some quality you get when you're not totally comfortable. When you're not doing what you're used to, you could completely fall on your face. You could completely blow it.

I didn't want to do something typical.

In the studio, I'm always throwing people on different instruments.

In the past it seemed like I was making fun of rap a little bit. But it was more me making fun of myself, since I'm not technically a rapper, whatever that means.

I think my whole generation's mission is to kill the cliche.

Every time you go in, it's like starting over. You don't know how you did the other records. You're learning all over. It's some weird musician amnesia, or maybe the road wipes it out.

I just go in the studio and write on the spot and see what comes out.

Art is the child of Nature; yes, her darling child, in whom we trace the features of the mother's face, her aspect and her attitude.

The years keep going by and you realize, Wow. Doing these records is such a process: going on tour for a year and a half, then you get home and you want to do other things.

You have to shelve a lot of your inspiration. There's only so much you can do with one record.

No one should drive a hard bargain with an artist.

I sat out a few years because I wasn't really sure what I wanted to do next. So many things were changing in music and in culture, so it seemed like a good time to step back.

I think you have to keep a childlike quality to play music or make a record.

As society changes, as politics change, as people change, certain songs still seem to resonate.

Being able to take musical ideas through every iteration is attractive to me. Granted, not everyone's going to want to listen to that, but it should exist.

Every band I knew or played with had flyers and properly-recorded demos and contacts; I couldn't even get a gig.

Growing up, a film was an action film or it was a comedy or it was romantic, but you don't really see such stark lines between genres nowadays.

I enjoy the collaboration. I always envied people in bands who got to have that interaction. I've done so many albums where I've been in the studio for 14 hours a day for six months just trying to come up with things on my own. It's a nice change helping other people with their music and not being all about what I'm trying to do myself.

I have heard some stuff that might be influenced by my records, but it's usually pretty wacky and off-the-wall, which is kind of annoying, to be frank.

I love British humor. It's just so - surreal.

I never had any expectations of winning a Grammy. It wasn't something I was set on, that I was hoping and praying and starving for.

I think trying to be offbeat is the most boring thing possible.

I've personally reached the point where the sound of MP3s are so uncompelling, because so much is lost in translation.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool. On paper, though, it's all stripped back. The musical idea is the one that wins.

Sometimes I'll have an idea for a story or have a subject, and that will inspire lyrics, but most of the time, hopefully, they already exist somewhere else.

The cliche of what a rock star is - there's something elitist about it. I never related to that. I'm an entertainer. I think of it as, you're performing for people. It's not a self-glorification thing.