Well, I am a dilettante. It's only in England that dilettantism is considered a bad thing. In other countries it's called interdisciplinary research.

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

The thing that obsesses me more than anything is waste - the waste of human intelligence and creativity.

If you've spent a long time developing a skill and techniques, and now some 14 year-old upstart can get exactly the same result, you might feel a bit miffed I suppose, but that has happened forever.

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.

Repetition doesn't really exist

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.