In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the - they've had a whole series now of these things called Kaoss Pads. They're wonderful because they do get your muscles working again. And what DJs do, of course, with their DJ turntables now, the CD turntables, which have pitch change and speed change and everything else. They're doing something that I think is interestingly physical.

I don't live in the past at all; I'm always wanting to do something new. I make a point of constantly trying to forget and get things out of my mind.

Repetition doesn't really exist

I have a definite talent for convincing people to try something new. I am a good salesman. When I'm on form, I can sell anything.

When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they're not obvious at the time. So, when I look back at my own work, I could easily write a very convincing sort of account of it that made it look like I had planned it all out from day one and that this led logically to that and then I did this and then that followed quite naturally from that. But that's not how it felt.

You feel as if you're not living a full life. Which, of course, is why - it's my theory about why so many people who are heavily into computers are also into extreme sports and S&M. It's because their bodies are crying out for some kind of action.

I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.