What people call unemotional just doesnt have a single overriding emotion to it. The things that I like best are the ones that ambiguous on the emotional level.

Most of those melodies are me trying to find out what notes fit, and then hitting ones that don't fit in a very interesting way.

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'm always interested in something when it isn't familiar to me.

I think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they're inclined to encourage that.

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.

What I would really like to do, if I could have a sort of kingship for a short time and organize the group of my dreams - I would make one group which would be a combination of, say, Parliament and Kraftwerk - put those two together and say, "Make a record." Something that would be an extraordinary combination: the weird physical feeling of Parliament with this strange, rigid stuff over the top of it.