To young to hold on and to old to just break free and run.

All flowers in time bend towards the sun, I know you say there's no one for you, But here is one.

Thinking so hard on her soft eyes and memories of the signs that it's over. It's over.

I'm lying in my bed, blanket is warm, this body will never keep me safe from harm. I still feel your hair, black ribbons of coal. Touch my skin to keep me whole. If only you'd come back to me. To feel you at my side, wouldn't need no Mojo Pin to keep me satisfied.

To young to hold on and to old to just break free and run.

She's a tear that hangs inside my soul forever.

Kiss me out of desire, but not consolation.

Words are beautiful but restricted. They're very masculine, with a compact frame. But voice is over the dark, the place where there's nothing to hang on: it comes from a part of yourself that simply knows, expresses itself, and is.

Maybe I'm too young to keep good love from going wrong, but tonight you're on my mind, so you never know.

'Grace' is basically a death prayer. Not something of sorrow, but of just casting away any fear of death. No relief will come - you really just have to stew in your life until it's time to go. But sometimes, somebody else's faith in you can do wonders.

A song just doesn't have verse-chorus-verse. It could just be one line. There are Chinese love songs that you have to learn one melody for a three-minute thing, and nothing ever repeats. I like that.

A tune has to resonate with whatever is happening around it.

All music industry places are the same, really. They have the same dynamics and the same concerns and the same needs.

All these people that want to make me out as part of Generation X had better watch out, or they're going to get X'd out themselves.

Certain emotions just take you to the notes - being furious, heroic, sad, erotic, when rain comes.

Critics try to pin so many different inaccuracies on me and my music; they look at the complicated things and try to simplify them. They think they can nail your whole life down just by knowing the bare bones of your history in partaking in 10 minutes of conversation.

Critics... They're like traffic cops. They say what they have to say, then leave, and another guy moves in ,and he has his say - and it's often just the opposite. The result is either critical acclaim or critical murder, and neither has any bearing on my music or direction.

Grace is a quality in people that I just enjoy. It's a very human quality.

Grace is what matters in anything - especially life, especially growth, tragedy, pain, love, death. That's a quality that I admire very greatly. It keeps you from reaching out for the gun too quickly. It keeps you from destroying things too foolishly. It sort of keeps you alive.

I am very observant of people's character.

I became a human jukebox, learning all these songs I'd always known, discovering the basics of what I do. The cathartic part was in the essential act of singing. When is it that the voice becomes an elixir? It's during flirting, courtship, sex. Music's all that.

I disoriented myself from everything about being a human being and just played and played and played and sang and sang and sang.

I do like structure, and I'd love to be better at it.

I don't choose the songs; the songs choose me.

I don't know any artists that are really emotionally well adjusted. In fact, I think we're all pretty much insane.

I don't really go on what people say so much; I go on their voice. I go on their energy at the time. I go on how close their arms are folded into their chest.

I don't really need to be remembered. I hope the music's remembered.

I don't see people. I don't see men and women at all. When I see them, I see... their mothers and fathers. I see how old they are inside. Like when I look at the president, or anybody in a record company, or a store owner, I may see a little boy behind the counter with the face of an old man. And that's who I talk to.

I don't want my reputation to take me over, I just want to be judged on my songs. I want people to come and see me because they want to, not because fashion dictates it.

I don't want to do any more covers. It's good to learn to make things your own, but the education's over. 'Grace' is putting a lot of things to rest.

I figured if I played in the no-man's land of intimacy, I would learn to be a performer.

I have a lot of my mother in me, but I was just born with the same parts as my father. I don't sound like him. I mean, I can do an impression of him right now, and I do not sound like him. I sound like me. My sense of rhythm I learned from my mother. My melodies, I think sometimes, I get from my mother.

I just let the emotion dictate what the arrangement is.

I just want to be a guy with a guitar.

I like a spirituality with a God that knows how to drive a car, that knows how to take his girl to the dance club, dance all night, have a little drink, kiss the kid when they come back in and go to sleep. God doesn't need a chauffeur - he needs to drive himself.

I made a statement all my own.

I once took a ride to the beach in L.A., and all along the shore there were all these so-called jazz places. And I saw these college guys and session players playing this fusion Muzak stuff. It was just a lot of notes, and the more notes they played, the more it kept them from expressing anything. So I came back home and got out my Zeppelin albums.

I once tried to sing jazz for real. But jazz didn't do it for me. You can't have jazz without a jazz world, which doesn't exist anymore.

I resent the fact that a parental warning sticker has to be included on an album as cover art. To me that's censorship.

I sacrificed my anonymity for my father, whereas he sacrificed me for his fame.

I started writing when I was 13. I got my first electric guitar when I was 13, but I'd always been singing. I had my first little acoustic when I was six. But I started being in bands when I was 13.

I think that all people are many people. I think all people have many, many, many different souls inside, and they just shift from one to the other.

I want to be ripped apart by music. I want it to be something that feeds and replenishes, or that totally sucks the life out of you. I want to be dashed against the rocks.

I'm actually the son of Mary Guibert. My mother was born in the Panama Canal zone and came to America when she was five with my grandmother and grandfather, and that was the family I knew. Everybody sang; everybody had songs all the time, and they loved music.

I'm always writing and reflecting on life. I want to suck it all in.

I'm concerned with the future. I'm concerned with my life, my present, my friends, people I love, people who love me. I have no intention of taking on a legacy that wasn't bestowed on me.

I'm convinced I got signed because of who I am. And it makes me sad.

I'm convinced part of the reason I got signed is because of who I am, and it makes me sad.

I'm far from being a consummate artist. I mean, this is just my first album, and the work is very new. I'm just beginning, and I'm certainly not worthy of demigod status. There's absolutely no danger of me reaching that.