At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.

I think the idea that people walk around to music is very interesting. They are actually creating the soundtrack to their lives as they walk around to it.

There's a kind of edge to what you're doing, the kind of leading edge of what you're doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. "I've pulled that one out before. Oh, no, I can't I'm just fed up with that. Let's do something else."And you always think "Oh my God I've never done anything at all like that before." But, of course, in retrospect, and to an outsider, they'll say, "Oh, yeah that's typical Eno.

If you think of the way a composer or say a pop arranger works - he has an idea and he writes it down, so there's one transmission loss. Then he gives the score to a group of musicians who interpret that, so there's another transmission loss. So he's involved with three information losses. Whereas what I nearly always do is work directly to the sound if it doesn't sound right. So there's a continuous loop going on.

I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.

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

Every increase in your knowledge is a simultaneous decrease. You learn and you unlearn at the same time. A new certainty is a new doubt as well.