Genius is individual, scenius is communal.

When I was at art college, the teachers who helped me were not the ones I agreed with, or the ones who encouraged me, but the ones who took very strong positions. Because if someone does that, you can find your own position in relation to it: what is it that I don't agree with? In the studio I want to articulate a position clearly enough so that other people can use it - or chuck it away if they don't want it.

The prospect of music being detachable from time and place meant that one could start to think of music as a part of one's furniture.

I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.

I don't like celebrity programmes - but I do like programmes about how ideas are formed and evolve.

I had wanted a tape recorder since I was tiny. I thought it was a magic thing. I never got one until just before I went to art school.

We have two different ways of working. One is completely unstructured where somebody just starts playing and somebody joins in and then the other person joins in, and something starts to happen. That's occasionally what happens. What more often happens is that we settle on some sort of - a few sort of structural ideas, like, "Okay, when I put my finger up, we're all going to move to the extremes of our instruments. So, that means you can only play either very high or very low or both. And we're going to stay there until I take my finger down.