I do sometimes look back at things I've written in the past, and think, 'I just don't remember being the person who wrote that.'

Cultural objects have no notable identity outside of that which we confer upon them. Their value is entirely a product of the interaction that we have 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.

Robert Fripp and I will be recording another LP very soon. It should be even more monotonous than the first one!

People assume that the meaning of a song is vested in the lyrics. To me, that has never been the case. There are very few songs that I can think of where I remember the words.

Of course, like anybody I repeat myself endlessly, but I don't know that I'm doing it, usually.

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.