I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.

Reggie Watts is a most unusual talent: a huge vocal range, a natural musicality, and a sidesplitting wit. Is he a comedian? A singer? A performance artist? I've seen him a few times since then and I still can't decide. Whatever, he ain't like nobody else.

In my normal life I'm a very unadventurous person.

Genius is individual, scenius is communal.

I think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they're inclined to encourage that.

In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the - they've had a whole series now of these things called Kaoss Pads. They're wonderful because they do get your muscles working again. And what DJs do, of course, with their DJ turntables now, the CD turntables, which have pitch change and speed change and everything else. They're doing something that I think is interestingly physical.

I would like to see a future where artists think that they have a right to contemplate things like global warming.