“I don’t like to tell people what format they can get things in, or say, “I’m only going to release this on vinyl and nothing else. You have to come to my world.” I don’t like to say that to people either. But, I do think there’s a loss of romance.”

There’s a certain standard in classical music that allows the application of the term “genius,” but you’re treading on thin ice if you start applying it to rock & rollers.

I’m not afraid of death. That is the greatest mystery of all. That’ll be it, that one. But it is all a race against time.

If you’re working at the factory and you’re cursing every day that you get up, at all costs get out of it. You’ll just make yourself ill.

If you are on to something creative, school can also inhibit you. The wrong teacher, man, can really mess you up.

I played guitar all my life, all the way through the Yardbirds, but I knew that for me this was going to be a guitar vehicle, because that’s what I wanted it to be.

I don’t deal in technique. I deal in emotions.

I’m just looking for an angel with a broken wing.

I can only listen to what I’m working on, at the time. I can’t listen to anything else because I don’t want to copy it.

There are very few people I can call real, close friends. They’re very, very precious to me.

I do really believe that all guitarists have a different character that comes through, that’s a strong character, the stronger the person is.

The term “genius” gets used far too loosely in rock & roll.

I can tell how far I ought to be going, I know how to get there, all I’ve got to do is keep playing.

My favorite guitar solo of all time was Elliot Randall’s on `Reelin’ In The Years’.

Almost the moment he died, they put him in Playboy as one of the greatest drummers, which he was – there’s no doubt about it. There’s never been anybody since. He’s one of the greatest drummers that ever lived.

I have a voracious appetite for all things, worldly and unworldly.

Just because you play bass, doesn’t mean you have no presence.