My interest in making music has been to create something that does not exist that I would like to listen to. I wanted to hear music that had not yet happened, by putting together things that suggested a new thing which did not yet exist.

Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.

If you think of the way a composer or say a pop arranger works - he has an idea and he writes it down, so there's one transmission loss. Then he gives the score to a group of musicians who interpret that, so there's another transmission loss. So he's involved with three information losses. Whereas what I nearly always do is work directly to the sound if it doesn't sound right. So there's a continuous loop going on.

The idea that something is uncool because it’s old or foreign has left the collective consciousness.

It must be quite mysterious to some people why I bother to carry on. Because, you know, I don't sell that many records.

I'm always interested in something when it isn't familiar to me.

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