What matters in modern music is not the part you can write down, the words and the tune, but the rest - the texture, the atmosphere, the references and associations.

I hate the way CDs just drone on for bloody hours and you stop caring.

In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.

I felt extremely uncomfortable as the focal point, in the spotlight. I really like the behind the scenes role, because all my freedom is there.

Everything is an experiment until it has a deadline. That gives it a destination, context, and a reason.

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.

With all fashion, what we do is play at being somebody else. We play at inhabiting another kind of world.