I had an interesting day. I was in the studio with a group of musicians, who shall remain nameless, and I said to them "Our exercise today is not to use 'undo' at all. So, there's no second takes. Or, if you do a second take, you have to do the whole take. There's no sort of drop in, change that little bit". The session broke down in, I'd say, 40 minutes. It was impossible for people to work in that restriction any longer.

One of the things you're doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.

What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams - I would make one group which would be a combination of, say, Parliament and Kraftwerk - put those two together and say, "Make a record." Something that would be an extraordinary combination: the weird physical feeling of Parliament with this strange, rigid stuff over the top of it.

I'm struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity.

You shoot your arrow and then you paint your bulls eye around it, and therefore you have hit the target dead centre.

Rationality is what we do to organize the world, to make it possible to predict. Art is the rehearsal for the inapplicability and failure of that process.

Most big concerts sound disgusting and awful and insultingly bad. It's like going to the cinema and been shown a scratchy film which is upsidedown and the bulb had gone on the projector. The quality of large-scale live music is so shocking.