You can't do anything interesting with cutting-edge technology except not make it cutting-edge.

Part of me likes a more ragged, jagged guitar sound or performance, but our work might not have been as innovative had we followed in the footsteps of what came before. We were very proud of what we had hit on.

In the 19th century, a lot of people were against outlawing child labour, because to do so would be against the very foundations of a free market economy: 'These children want to work, these people want to employ them... what is your problem? It's not as if anyone has kidnapped them...'

The difficulty of always feeling that you ought to be doing something is that you tend to undervalue the times when you’re apparently doing nothing, and those are very important times.

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.

The smart thing in the art world is to have one good idea and never have another.

My kind of composing is more like the work of a gardener. The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when - and he won't necessarily be able to reproduce it again afterwards either.