Who knows what the right time to get married is?

I'm used to the egos in the 1960s, '70s and '80s where people just expected massive success and thought it was their birth right to be successful.

I never felt entitled to anything. I'm the hardest worker I know.

I was always an introvert as a kid. Then, when I first kind of came out as a human being, I used to be one of those guys who'd go nuts on the dance floor, and people would gather around.

I do a project, and then I move on.

Americans think that if you're popular, there must be something wrong with you.

Obscurity is just obscurity. There's no romance in obscurity.

I'm very enthused about everything. I have a lot to say and a lot of things I'm interested in.

My fan base is really expanding into an inter-generational thing - it's what every artist probably hopes for.

I've been traveling around the world forever.

If you can sing, you never lose your voice. If you don't know how to sing, your voice goes away because you sing from your throat.

I'm a born collaborator. This is what I was born to do, really.

I'm quite an eclectic musician.

I had the idea of 'Live From Daryl's House' way before I contracted Lyme disease.

I'm constantly on my toes and re-examining my own music.

The Internet allows me to be more free.

I've watched the world crash and burn in every sense. I've watched the record industry crash and burn; politically I've watched it crash and burn, financially crash and burn.

You externalise extreme emotions, and you look at them objectively and understand them from a different standpoint.

For years and years, I was beset with snide remarks by certain members of the press, where they would turn John Oates into a joke, or they would trivialize what I do, which never really bothered me all that much.

As I got older, my voice got better.

If you see me walking down the street, you're gonna see the same guy as you do on stage, dressed the same, looking the same, and nothing changes. I'm just one person.

I think Philadelphia has been underrated over the years as a musical region.

The biggest honor of my career was when I won R&B Artist of the Year back in the 1970s. I look at that as a major honor.

I'm always interested in what fans think.

The song 'Laughing Down Crying' is not a typical Daryl song.

I don't like showboating. I was never a fan of showing off.

As a singer, I float around. I'm kind of scatty, bouncing around a lot. I try to adapt to what's going on around me in the song and the arrangement.

Nobody really cares about what other people think anymore; they're all about themselves.

I specialize in early homes, and what I care about the most is renovating a home and taking it back to its original construction idea.

In my Philly neighborhood, black and white kids hung together without even thinking about it. The spirit of Martin Luther King was alive and well.

What I do isn't black music; it's just my music.

If you are a superstar, or whatever you want to call yourself, a person who's had outrageous success, and you decide to go indie and tell the record companies to screw themselves? That takes a certain amount of courage. And bullheadedness, really.

If you're African American, you are forced into making different choices, in a lot of cases, than you are as a white person.

I've always been a spontaneous singer. And all the stuff that you hear on the end of the songs, what they call the ad libs - that just comes out of my head. That's not thought out at all. I have the verses and the choruses, and then after that it's total improvisation.

I knew that I would be making music for my whole life; as far as how many people respond to it, you can't plan for that.

Having a solo career is a funny thing.

The younger generation gives me more respect than I could ever hope for.

I think an artist's true worth comes through an inter-generational thing - when you go beyond your own time, and start influencing people in a greater way than just what surrounds you.

Some artists are nervous - most of them are, to tell you the truth, and they have different ways of exhibiting that. Some of them are boisterous, some are really quiet.

I think there are people who really always have and always will care about the quality of music in general, about the sound of the music, things like that.

The Philadelphia/New York world of the music business is a tough place to be.

To me, there's two kinds of music these days. There's ephemeral music, and there's music that has lasting power and depth.

Nobody's going to sell 10 million records by not working hard.

My house is actually two houses that were deconstructed. They were Connecticut Valley houses built in 1771 and 1781. I took them down piece by piece and reconstructed them about 50 miles to the west on the New York/Connecticut border.

Every artistic form has its golden age, and unfortunately I think the golden age for whatever I do probably ended about 1990.

I hear a lot of people singing in funny voices and singing like they're stupid. Singing in a deliberately fey and dumb and childish way. And I find it to be a disturbing trend.