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I've been very hands-on with everything I've done since I had my children. And it's just really important for me to understand the big picture, where everybody's coming from, what's the real purpose of this shoot and this song, or whatever it is in that moment that I'm doing.

Everyone has a hole inside themselves. They don't know they had it until they have kids, and then that hole fills up. And it's so great; it's just God's greatest gift to us.

I always seem to feel that everything is about to cave in on me. I think that maybe music is my protection from that and in some senses it's an outlet to turn it into something euphoric: embracing the eventual decline.

I think we all want to know that if our lives don't turn out the way we imagine, there's still a purpose.

The Men at Work thing is always there, it's always going to be there. It's not something I consciously think that much about anymore. The thing that stays with you is the songs, which is a good thing for me, because the songs are the things that stand the test of time.

One of the things that I share with Bryan Becket is this hole in my childhood memory. There's about five years of my life that's virtually gone. I've thought about it a lot, and I've come to the conclusion that it might be for my own protection that those memories are gone, and maybe I don't want to dredge up those things.

A lot of times, I don't feel responsible for the songs myself. But that's my job or my place in life: to keep my search and catch the ideas before they pass me by.

When I write a song, it is to fill a niche in people's lives. To have a song for every experience if one hadn't been written yet.

I think the whole reason for my life is in there somewhere.

At any given time, all of us have an empty spot: one that is calling for companionship, for example, or for justice, love, romance, or a belly laugh. When I sit down to write, I look to see what hole needs filling at that particular moment.