It infuriates me that stuff from the Internet routinely doesn't include all the credits. Because as soon as I listen to something, if I like it, I want to know, "Who's the bass player?" "Who did that?" "Who's the engineer on this?

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.'

The most important thing in a piece of music is to seduce people to the point where they start searching.

I'm always interested in what you can do with technology that people haven't thought of doing yet.

Frequently, I go straight into the studio and see what's around. I might hire a couple of instruments that I've never used - maybe a particular type of electronic organ or an echo unit. Then I just dabble with sounds until something starts to happen that suggests a texture. The texture suggests some kind of mood, and the mood suggests some kind of lyric. That's like working in reverse, often quite the other way around, from sound to song. Although often they stop before they get to the song stage.

If I had a stock of fabulous sounds I would just always use them. I wouldn't bother to find new ones.

Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature... The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.