You’re celebrating the 20th anniversary of So Much for the Afterglow. Why do you feel this particular album has experienced so much staying power?

I think it’s a thing when you’re a teenager, or in your early 20s, when you discover something and it just feels like yours, and it just encapsulates a time in your life where that’s really really important.

As you get older, as you get into your 30s and 40s and 50s, you get excited about stuff, but it’s not really making that imprint into you that it would've maybe 20 years earlier.

I appreciate it, and I’m respectful, and I’m grateful for it, but it’s kind of weird when people start talking about me, and my band, like I talked about Aerosmith and Zeppelin. There’s a disconnect there for me. I’m like, oh no, that’s Led Zeppelin.

To this generation, Nirvana and Soundgarden and Pearl Jam and Everclear — bands like that (are their legendary bands), because that was their coming of age. I get it.

But you asked why this has staying power … I don’t know, man. I think it was a really good record. I worked my ass of on this record. I was coming from a lot of places where a lot of people were saying “Sophomore slump,” “One hit wonder,” and all this shit.

Part of my attitude that’s kinda gotten me through life is being able to say fuck you to people, even if they don’t know it. “Oh really? How about fuck you?” That works. If you back me into a corner, I start swinging.

Success is a really good fuck you.

Success is the ultimate fuck you.

All the people who wanna talk shit, all the haters who wanna hate … hate, go ahead motherfucker. I love that Taylor Swift song. [Laughs]

I got a 9-year-old and she wants to hear it all the time. I’ll be driving her to school, just boppin, “Haters gonna hate hate hate.” I’m sure all the crunchy punk rockers, if they saw me doing that they’d talk some serious shit, but you know what, fuck you to them, too. How about that? [Laughs]