If you watch any good player, they're using different parts of their body and working with instruments that respond to those movements. They're moving in many dimensions at once.

I hate the thought that someone had picked up one of my song records and was really excited about it, and walks [out of] a record shop with On Land and is disappointed because it isn't what they wanted. So, I try to make signs, graphically and visually, to say to people "Okay, this is this department of my work and this is this other department of my work." And of course I'm very pleased if people like all of them, but I don't want them to feel deceived at any point.

Rationality is what we do to organize the world, to make it possible to predict. Art is the rehearsal for the inapplicability and failure of that process.

Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.

When I was at art college, the teachers who helped me were not the ones I agreed with, or the ones who encouraged me, but the ones who took very strong positions. Because if someone does that, you can find your own position in relation to it: what is it that I don't agree with? In the studio I want to articulate a position clearly enough so that other people can use it - or chuck it away if they don't want it.

In England and Europe, we have this huge music called ambient - ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.

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