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

The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.

Instead of shooting arrows at someone elses target, which Ive never been very good at, I make my own target around wherever my arrow happens to have landed. You shoot your arrow and then you paint your bulls eye around it, and therefore you have hit the target dead centre.

There's a kind of edge to what you're doing, the kind of leading edge of what you're doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. "I've pulled that one out before. Oh, no, I can't I'm just fed up with that. Let's do something else."And you always think "Oh my God I've never done anything at all like that before." But, of course, in retrospect, and to an outsider, they'll say, "Oh, yeah that's typical Eno.

I don't want to do free jazz! Because free jazz - which is the musical equivalent of free marketeering - isn't actually free at all. It's just constrained by what your muscles can do.

Things that are very popular are not taken seriously, because the snobbish side of one says, "Well, if everyone likes it it can't be that good." Whereas if only I and a couple of other people like it, then it must be really something special.

I'm not interested in possible complexities. I regard song structure as a graph paper.