I don't care if it's rap, metal, whatever. You still should play Beatles records mixed with Limp Bizkit mixed with Foghat mixed with Creedence Clearwater Revival, stuff like that.
At The Drive In came out in a period of time when Stereophonics and Limp Bizkit were huge. And there was this dark grey void - I'm not saying we filled it - but we were just a different colour at the time.
A big problem for me was opening for Limp Bizkit and Linkin Park, two bands that wouldn't exist if it weren't for me, straight up!
We went through ten years of the Limp Bizkit thing, and I didn't know what to do.
I'm 38 years old and Limp Bizkit is just something I do. If I was a painter, it would just be a type of painting I make.
I wouldn't support Limp Bizkit being on some snuff backyard brawling, fighting contest.
There's some people who are not understanding what Limp Bizkit is about. But, then again, who am I to tell people what they can use art for or how they can interpret it?
One of the things that was confusing about Limp Bizkit to some people is that our tastes were very different.
When Wes came back to Limp Bizkit, we really wanted to do something different. We wanted to make a core record that we didn't care who liked or who disliked.
Man, I love Limp Bizkit, Johnny Lange, many people.
