Once you've grown to accept something and it becomes part of the system you've inherited, you don't even notice it any longer.

Often, I think you find that you're enjoying certain things, you've got this new way of listening, and you find that you really enjoy the way that sounds on it and the way this other thing sounds on it and the way that other thing sounds on it. So, you're finding a new pleasure that you didn't know about before.

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

Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.

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

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.

You just make different music on a computer. And you can make wonderful music on a computer, but don't pretend that the machinery is transparent. It makes as much difference to what you're doing as it does if you play an acoustic guitar as opposed to a kettledrum. You're not going to make the same music.