[Moshe]

I think one correlation I see is the level of positivity I pick up from you guys and everything I read about you. I know that when artists tend to start falling off is when they give the "all contemporary music sucks" interview, and I've never seen that from you guys.

We're always inspired by things that are going on, so I see what you mean.

What do you think keeps you positive?

I can't really speak for other people, but I just really enjoy what we do. There's so much music out there that we do like, whether it's from current times or previous times. You just learn about something this week and become so excited about it. That type of stuff is real easy.

How has your listening changed as you've gotten older?

Of course, your ear becomes more sophisticated, and once you've heard a lot of things, you can go off and say, "I've heard it before." As much as I'm interested in this Neil Young record, it's never going to affect me the way Rust Never Sleeps affected me when I was 16 years old. The things that happen now are just going to be smaller, you know, adjustments. When I heard Rust Never Sleeps, it was a major change for me, that I could listen to this guy's music and learn what I learned from it at that time. Now stuff comes to you in smaller steps, in smaller pieces.

Is it ever kind of a drag for you, though, that you can't get the ecstatic feeling that you did when you were 16?

There's different things to be ecstatic about when you're 16 and when you're 40.

To revisit the topic of your longevity, does the idea of aging gracefully ever feel a bit funny, as if it's not a very "rock 'n' roll" thing to do?

No, I certainly don't think we'd like to age ungracefully or make a quick exit with an overdose or something like that. The age thing is very odd. I certainly don't feel the age I'm supposed to feel, but you're also aware that you're not 23 or you're not 33. It's a part of your life, and you know society as a whole is learning more about aging and how we're all gonna go through this together, but it's something that everyone has to deal with in some way or another.

The Whitey Album just got reissued, and that album reminds me of just how much Sonic Youth seems to be obsessed, preoccupied, and so on with pop culture, and not necessarily in this way where you guys are out to subvert it or outright embrace it either. It's always this really interesting line that your music has toed. To what extent do you feel like you and your bandmates embrace the myth and fantasy of being a rock band, and to what extent have you rejected it?

That's a tough one. We're very much into the classic – we're big fans of all the great groups that happened before or after us, and I think there's something really magical when a band is good or when they play together well or have worked together well. But also we came from indie rock and we also realize that rock 'n' roll is a pretty silly thing. And it's a pretty silly job for grown men, maybe not for women so much, but for grown men to be jumping around on stage and acting like they're 16 years old in their bedroom with the air guitar. So I guess we've just been sort of aware of both sides of that, that rock is a force to be reckoned with, and not to take it too seriously.

Do you find yourself some days leaning more toward one side than the other?

When we are onstage, we're taking it pretty seriously, but then sometimes something can happen that can feel like a total Spinal Tap moment, and that knocks you back to the earth if you're getting too high.

It's interesting that you especially, being of a younger generation than the other folks in the band, have such a reverence for rock. I know that in the '80s, when you were coming of age as a musician, the big idea behind post-punk was that rock had run its course and that the electric guitar had a lot less possibility than, say, dub. What made rock viable to you, and what made you keep your interest in it when it seemed fashionable not to remain interested in it?

The post-punk thing was a really huge thing, and rock was becoming tired at the end of the '70s and somewhat at the beginning of the '80s, but the guitar was always an important thing to me in the music that I liked. I never went through a period where I only liked synth music or something, even in the early '80s, because there was the underground, and they used the guitar. Whether it was Arto Lindsay and DNA, or later with D. Boone and the Minutemen, or Neil Young throughout all that time, that stuff was really important to me. But through that time when rock was changing, there were still the traditional people that you were still interested in. Even the Stones – what were the Stones doing, from Some Girls to Emotional Rescue... At a certain point, post-punk became more important to me than rock 'n' roll itself, but we were always sort of pulling for the [older rock] guys. Even Neil had a tough time in the mid-'80s creative-wise, with some of the concepts of his records, when he was doing the rockabilly, they weren't his strongest records ever. But you were still pulling for these guys, your heroes, to keep up the good work, while all these new bands were just doing incredible things, whether it was Gang of Four or the Birthday Party or The Minutemen or Public Image or The Dream Syndicate or Gun Club. There were just so many things happening that made the early '80s just seem like it was such a great time for rock music. And I think a lot of us considered that new music to be rock 'n' roll, too. It's just that our friends and schoolmates and coworkers didn't consider it that – they considered it to be some atrocity.

What was your reaction when you found out that the Library of Congress was adding Daydream Nation to its National Recordings Registry?

I don't know if I had much of a reaction. I think it's very nice, I'm happy to hear that. We weren't able to go to the awards ceremony, because we were working on this new album at the time, so maybe it would be a bit more real to me if I had been, but it sounds nice. It's not something I think about from day to day. It's nice when people tell you you did good.

One thing I've always wondered about – and the fact that you've been talking about Neil Young has reminded me, along with the fact that you were recently in Be Here to Love Me, the Townes Van Zandt documentary – I've noticed that you seem to connect with a lot of singer/songwriter types. Your label even did the Lee Hazlewood reissues. Has it ever been an ambition of yours to do an album like that on your own?

No, I think the closest I've come to that is helping out with Two Dollar Guitar, because I get to play with Tim and we make those records together. But no, I'm not a singer, I'm not a guitar player. I just like a lot of those kinds of singers. Townes is one of my favorite, favorite singers. So is Neil. I've been enjoying Lucinda Williams lately... I've been listening to a lot of Essence. That's stuff that just goes around. Your record collection changes from year to year. But I like those kind of singers a lot. I like other stuff too, but you're right, and yeah, with the label, I put out a lot of stuff like that. I've never really examined why I like it.

I've gravitated more towards that kind of stuff as I've gotten older. It's good!

It's funny, because I liked that stuff as much when [I was younger]. I think Neil Young is the culprit, because I liked the acoustic side of his albums when I was first learning about him and still learning about punk rock. On Rust Never Sleeps, the acoustic side is so beautiful, and the flipside with Crazy Horse is just so ugly, ugly-beautiful in its own way, and I guess I'm attracted to that.

You're probably the only member of Sonic Youth I've never heard in an interview express much interest in abstract art, be it visual, literary, or just noise music or free jazz or whatever. Do you listen to that kind of stuff?

I do. It's not my forte – the others are much more versed in it, but you're right, I sort of learn about it through the others. I like taking part in abstract music, like the SYR 6 we did. We did a live performance with films by Stan Brakhage, and the drummer Tim Barnes played along with it. That was a really fun performance, and I enjoy that stuff a lot, but it's not something I feel like I'm an expert on and can tell you which Wolf Eyes records are must-haves.

If you weren't doing this music stuff, what do you think you'd be doing with yourself right now?

Geez, that's a tough one. I really don't know. I'm really fortunate that music worked for me!