I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.

All cultures have these feelings about non-functional areas of activity. And the more time people have on their hands, the more they commit it to those areas.

The point about working is not to produce great stuff all the time, but to remain ready for when you can.

With devices my technique is always to hide the handbook in the drawer until I've played with it for a while. The handbook always tells you what it does, and you can be quite sure that if it's a complex device it can do at least fifteen other things that weren't predicted in the handbook, or that they didn't consider desirable. It's normally those other things that interest me.

I think one of my pursuits over the years is trying to answer the question of 'what else can you do with a voice other than stand in front of a microphone and sing?'

Once you've grown to accept something and it becomes part of the system you've inherited, you don't even notice it any longer.

I've discovered this new electronic technique that creates new speech out of stuff that's already there.