Once I've written something it does tend to run away from me. I don't seem to have any part of it - it's no longer my piece of writing.

Radio in England is nonexistent. It's very bad English use of a media system, typically English use.

There's a schizoid streak within the family anyway so I dare say that I'm affected by that. The majority of the people in my family have been in some kind of mental institution, as for my brother he doesn't want to leave. He likes it very much.

I've made over 25 studio albums, and I think probably I've made two real stinkers in my time, and some not-bad albums, and some really good albums. I'm proud of what I've done. In fact it's been a good ride.

I suppose for me as an artist it wasn't always just about expressing my work; I really wanted, more than anything else, to contribute in some way to the culture that I was living in. It just seemed like a challenge to move it a little bit towards the way I thought it might be interesting to go.

What I do is I write mainly about very personal and rather lonely feelings, and I explore them in a different way each time. You know, what I do is not terribly intellectual. I'm a pop singer for Christ's sake. As a person, I'm fairly uncomplicated.

The humanists' replacement for religion: work really hard and somehow you'll either save yourself or you'll be immortal. Of course, that's a total joke, and our progress is nothing. There may be progress in technology but there's no ethical progress whatsoever.

The absolute transformation of everything that we ever thought about music will take place within 10 years, and nothing is going to be able to stop it. I see absolutely no point in pretending that it's not going to happen. I'm fully confident that copyright, for instance, will no longer exist in 10 years.

Music itself is going to become like running water or electricity. So it's like, just take advantage of these last few years because none of this is ever going to happen again. You'd better be prepared for doing a lot of touring because that's really the only unique situation that's going to be left.

I'm well past the age where I'm acceptable. You get to a certain age and you are forbidden access. You're not going to get the kind of coverage that you would like in music magazines, you're not going to get played on radio and you're not going to get played on television. I have to survive on word of mouth.

As you get older, the questions come down to about two or three. How long? And what do I do with the time I've got left?

I don't have stylistic loyalty. That's why people perceive me changing all the time. But there is a real continuity in my subject matter. As an artist of artifice, I do believe I have more integrity than any one of my contemporaries.

I'm not very articulate.

I've always regretted that I never was able to talk openly with my parents, especially with my father. I've heard and read so many things about my family that I can no longer believe anything; every relative I question has a completely different story from the last.

There's an effort to reclaim the unmentionable, the unsayable, the unspeakable, all those things come into being a composer, into writing music, into searching for notes and pieces of musical information that don't exist.

I was never particularly fond of my voice.

I thought that I wrote songs and wrote music, and that was sort of what I thought I was best at doing. And because nobody else was ever doing my songs, I felt - you know, I had to go out and do them.

I couldn't have written things like 'Low' and 'Heroes,' those particular albums, if it hadn't have been for Berlin and the kind of atmosphere I felt there.

I have all the admiration in the world for somebody like Bono, who really puts himself on the line and tries actively to do something about our world situation.

I'm not one of those guys that has a great worldview. I kind of deal with terror and fear and isolation and abandonment.

All art really does is keep you focused on questions of humanity, and it really is about how do we get on with our maker.

My mother was Catholic, my father was Protestant. There was always a debate going on at home - I think in those days we called them arguments - about who was right and who was wrong.

What I have is a malevolent curiosity. That's what drives my need to write and what probably leads me to look at things a little askew. I do tend to take a different perspective from most people.

I'm responsible for starting a whole new school of pretension.

Glam really did plant seeds for a new identity. I think a lot of kids needed that - that sense of reinvention. Kids learned that however crazy you may think it is, there is a place for what you want to do and who you want to be.

Art was, seriously, the only thing I'd ever wanted to own. It has always been for me a stable nourishment. I use it. It can change the way that I feel in the mornings.

There are times when I prefer a cerebral moment with an artist, and I'll just enjoy the wit of a Picabia or a Duchamp. It amuses me that they thought that what they did would be a good way of making art.

I wanted to be Gerry Mulligan, only, see, I didn't have any kind of technique. So I thought, well, baritone sax is kind of easier; I can manage that - except I couldn't afford a baritone, so I bought an alto, which was the same fingering.

I think in the '70s that there was a general feeling of chaos, a feeling that the idea of the '60s as 'ideal' was a misnomer. Nothing seemed ideal anymore. Everything seemed in-between.

With a suit, always wear big British shoes, the ones with large welts. There's nothing worse than dainty little Italian jobs at the end of the leg line.

I'm in awe of the universe, but I don't necessarily believe there's an intelligence or agent behind it. I do have a passion for the visual in religious rituals, though, even though they may be completely empty and bereft of substance.

My father worked for a children's home called Dr. Barnardo's Homes. They're a charity.

I think much has been made of this alter ego business. I mean, I actually stopped creating characters in 1975 - for albums, anyway.

I'm not actually a very keen performer. I like putting shows together. I like putting events together. In fact, everything I do is about the conceptualizing and realization of a piece of work, whether it's the recording or the performance side.

Frankly, if I could get away with not having to perform, I'd be very happy. It's not my favorite thing to do.

I never really felt like a rock singer or a rock star or whatever.

Now I realize that from '72 through to about '76, I was the ultimate rock star. I couldn't have been more rock star.

For me, the world that I inhabit in reality is probably a very different world than the one people expect that I would be in.

Age doesn't bother me. So many of my heroes were older guys. It's the lack of years left that weighs far heavier on me than the age that I am.

I don't have a problem with ageing - in fact, I embrace that aspect of it. And am able to and obviously am going to be able to quite easily... it doesn't faze me at all.

For me, often, there's such a cloud of melancholia about knowing I'm going to have to leave my daughter on her own. I don't know what age that is going to be, thank God. It just doubles me up in grief.

I don't like to read things that people write about me. I'd rather read what kids have to say about me because it's not their profession to do that.

I change my mind a lot. I usually don't agree with what I say very much. I'm an awful liar.

I feel confident imposing change on myself. It's a lot more fun progressing than looking back. That's why I need to throw curve balls.

It's amazing: I am a New Yorker. It's strange; I never thought I would be.

I think Mustique is Duchampian - it will always provide an endless source of delight.

I'm an early riser. I get up between five and six, have coffee, and read for a couple of hours before everyone else gets up.

I guess it's flattering that everyone believed I was those characters, but it also is dehumanizing.

I wanted to imbue Ziggy with real flesh and blood and muscle, and it was imperative that I find Ziggy and be him.

When I was 18, I thought that, to be a romantic, you couldn't live past 30.