I love the sort of ambivalence of this, the ambiguity of something - being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.

I'm not interested in possible complexities. I regard song structure as a graph paper.

The artists of the past who impressed me were the ones who really focused their work.

When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn't expected or predicted by what I supplied. Once phase two begins everything is okay, because then the work starts to dictate its own terms. It starts to get an identity which demands certain future moves. But during the first phase you often find that you come to a full stop.

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

The most important thing in a piece of music is to seduce people to the point where they start searching.

When I've finally got the title, I think, "Okay, yes, now I know where we are. Now I know what it is. Fine, that must be finished or nearly finished.