Some people are very good at being 'stars' and it suits them. I'm grudging about it and I find it annoying.

Basically, you're still sitting there using just the muscles of your hand, really. Of one hand, actually. It's another example of the transfer of literacy to making music because the assumption is that everything important is happening in your head; the muscles are there simply to serve the head. But that isn't how traditional players work at all; musicians know that their muscles have a lot of stuff going on as well. They're using their whole body to make music, in fact.

You can hear the profile of a sound, in retrospect, so much more clearly than you did at the time. And I think one of the things that's going to be nauseatingly characteristic about so much music of now is its glossy production values and its griddedness, the tightness of the way everything is locked together.

I love the sort of ambivalence of this, the ambiguity of something - being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.

It's nice, I think, when people use your music for things you didn't think of.

I describe things in terms of body movements. I dance a bit to describe what sort of movement it ought to make, and that's a good way of talking to musicians. Particularly bass players.

Composition is a way of living out your philosophy and calling it art.