The problem with improvisation is, of course, that everyone just slips into their comfort zone and does sort of the easy thing to do, the most obvious thing to do with your instrument.

It's nice, I think, when people use your music for things you didn't think of.

You feel as if you're not living a full life. Which, of course, is why - it's my theory about why so many people who are heavily into computers are also into extreme sports and S&M. It's because their bodies are crying out for some kind of action.

Sometimes something intrigues me about particular sounds, how they work together, and I think "Okay, I've found something here; I'm going to take it somewhere." And sometimes just to find a name for that sound, whatever it is, ends up becoming a title of the piece or becoming part of the title.

There's a kind of edge to what you're doing, the kind of leading edge of what you're doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. "I've pulled that one out before. Oh, no, I can't I'm just fed up with that. Let's do something else."And you always think "Oh my God I've never done anything at all like that before." But, of course, in retrospect, and to an outsider, they'll say, "Oh, yeah that's typical Eno.

In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.

I belong to a gospel choir. They know I am an atheist but they are very tolerant.