Even though I'm known as a pop musician, I have a seriousness about what I do.

The problem with computers is that there is not enough Africa in them.

Except in a few cases like Music for Airports, which was a very clear case of noticing a niche [and] saying, "Okay, there's this situation in which people always play music, and nobody has written music for that situation so I'm going to." So, that was a very clear example of spotting a niche and working for it. I have done that occasionally.

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 think that sex, drugs, art and religion very much overlap with one another and sometimes one becomes another.

I think that there's something that I still like about the fact of a package, like the latest report from somebody. "Okay, this is what they're up to now; this is what they're doing; who's working with them?

The micro-compositions are the pieces themselves, but the macro-composition is the whole set of them and how it moves from track to track and how the titles relate to one another, for example. Always when I do records like this of a selection of instrumental pieces - the titles, to me, are very important.