I'm also very impressed with the best people in experimental electronic world, like Peta and Eckart Aillers and Finez and Jim O'Rourke and Oren Umbarci and Francesco Lopez. Most of them use the computer as their main instrument.

I really believe we in the music industry can work together to find a way to bond technology with integrity and just really hope we can teach the younger generation the value of investment in music rather than the ephemeral consumption of it.

We are at a crossroads in the music business: with the rise of the internet, the world we live in has changed, and the past is not coming back. But I see the glass as half-full: the internet and social networking are new avenues for the next Bob Dylan to be born on.

What people really want is remarkable stuff that doesn't require a lot of technology.

I'll try any guitar just to see if it's different in an effort to see if it will lead me anywhere. I'm trying to have a guitar built. What's needed is better instruments, better amplifiers, better hardware for electric music to get better.

World Record" has a looseness and a spontaneity that's rare in new recordings. It reminds me a little of listening to old 78-r.p.m. records-most early recording artists had just one three-minute shot in front of the microphone, and sometimes things got a little wild, a little free. How do you purposefully cultivate that feeling in the studio?