"Look, I'm a hits only person. When I go see a show, I don't want filler. Unless you're Sonic Youth or Tori Amos, I don't want your B-sides. Hits only. It's so self-indulgent. I picked Buzzcocks Singles Going Steady because I like that it's a little campy and gay. And the harmonies are good. It's that simple. I think with music sometimes it is that simple. It was pop punk, not pop punk as it is now, but it was poppy. I got into punk late because what I thought punk was did not appeal to me at all. I was like I couldn't care less about [whispers conspiratorially] Sex Pistols. But Buzzcocks, Gang Of Four, Wire, that's my jam. Melodic and smart and put together and catchy and the rest of it? I don't care. It's self-indulgent, like you say you don't care what we think of you but, yes you do. Singles Going Steady doesn't take itself too seriously, and it's gay. It's so gay. I think it's cool to think about being gay in the punk scene, I don't think it could have been too easy but to me that's ultimately not giving a fuck. It must be easy to be some straight, white dude and be anti-establishment. Well you're part of the problem, get out of here. You're anti what? What are you talking about? We were so lucky to come along in the 90s, because it was really a turning point for pop culture. Look at Riot Grrl, it made punk a safer place for women, and then Queercore came along and made it a safer place for queers. I think, there is a refuge in punk rock now, but that's the thing why I think the Buzzcocks was more punk than punk, because I don't necessarily think there was a refuge then. I think it probably felt pretty lonely, because you weren't disco, you weren't pop, that's where queer culture, or the gay scene really was, and to be a punk then? I don't think you could seek refuge in that. "

"Along with Sufjan, I think Regina Spektor is the other genius of this generation. I could have picked a number of Regina's records. Soviet Kitsch is the crossover, when she became accessible to a larger audience. Her first two records are records that only if you are slightly bipolar and, like me, a fantasist in music, are going to love. Soviet Kitsch found the language that was going to meet that wider audience. The songs are crazy masterpieces. They straddle a line between pop – there are catchy choruses – and craziness. 'Us' is one of my favourite songs ever written and will be played at my funeral. I got into Regina because I had bumped into her producer [Gordon Raphael], who was also the producer for The Strokes, at a festival. He has just finished working with her and he raved about this crazy woman who would play piano while hitting a drumstick against a drum stool. I had to go and check her out after that. Soviet Kitsch is astonishing, as are the ones that follow. I saw her play at The Greek in LA and realised I was watching genius. I couldn't write a song for three months after seeing her show, as I was so in awe at what I had witnessed. I have never had that experience happen before. I went back and bought every single piece of her music and for three months listened to her day and night, trying to work out what the fuck she was doing. I still haven't worked it out. I think she is channelling – she is a witch and she is channelling and that is all there is to it. I fell in love with her and was lucky enough to meet her. I was even luckier to become friends with her and her husband, and it has been amazing to have her as a genuine friend. Her husband, Jack [Dishel], made this fabulous YouTube video [:DRYVRS] with Macaulay Culkin and it became a viral sensation. Jack is fantastically talented and a natural-born stand-up comedian. He will have you belly-laughing whenever you talk to him with his honesty and gawkiness. I haven't told many people that I have become friends with both of them, and I am a little shy about telling you that."