I wanted to get rid of the element that had been considered essential in pop music: the voice.

There are hundreds of manufacturers always producing dvices that in general do the same things. Since they have slight structural differences if you take one and fool around with it and give it a good kick it will actually do something that it wasn't designed to do. I have this relationship with my synthesizers. I've had them for so long, and I've never had them serviced, so that now practically all of their functions operate differently from what they were designed to do. They do very interesting things now, but that means nobody else can use them either.

When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they're not obvious at the time. So, when I look back at my own work, I could easily write a very convincing sort of account of it that made it look like I had planned it all out from day one and that this led logically to that and then I did this and then that followed quite naturally from that. But that's not how it felt.

You don't have to act as if you know what you're doing

One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.

Stop thinking about art works as objects, and start thinking about them as triggers for experiences.

Everybody thinks that when new technologies come along that they're transparent and you can just do your job well on it. But technologies always import a whole new set of values with them.