The moth don't care when he sees the flame
He might get burned, but he's in the game
And once he's in, he can't go back
He'll beat his wings till he burns them black
No, the moth don't care when he sees the flame
The moth don't care if the flame is real
'Cause flame and moth got a sweetheart deal
And nothing fuels a good flirtation
Like need and anger and desperation
No, the moth don't care if the flame is real.
One of the things I've really gotten past in the last couple of years is the idea of being made uncomfortable by the way things appear, rather than how things are. Clearly in this business you have to contend with a lot of that.
It's funny, because my last record was a lot about isolation and people living in separate worlds that other people can't even understand, which drug addiction is the perfect negative example of.
Better take the keys and drive forever. Staying won't put these futures back together. All the perfect drugs and superheroes wouldn't be enough to bring me back to zero.
I certainly understand that we're all trying to make a living, but I'm not thinking about that when I'm making it. And if that's your sole motivation, it's going to reflect that narcissistic greed and you're going to hear it in the music.
If you're an artist trying to put out your own record on your own label, it's hard to get a distribution deal because no one wants to sign a deal with one entity. They want to sign distribution deals with labels, who have lots of product, lots of artists.
Everyone's just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it's a huge antidote to that to have a concept album.
I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I'm really working on him about that.