Not many people bought Velvet Underground LPs, but those who did, started a band.

When I've finally got the title, I think, "Okay, yes, now I know where we are. Now I know what it is. Fine, that must be finished or nearly finished.

I think audiences are quite comfortable watching something coming into being.

I've got nothing against records - I've spent my life making them - but they are a kind of historical blip.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one. A responsible designer might try to overcome this limitation - probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.

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.

If you are part of a religion that very strongly insists that you believe then to decide not to do that is quite a big hurdle to jump over. You never forget the thought process you went through. It becomes part of your whole intellectual picture.