I always use the same guitar; I got this guitar years and years ago for nine pounds. It's still got the same strings on it.

The problem with improvisation is, of course, that everyone just slips into their comfort zone and does sort of the easy thing to do, the most obvious thing to do with your instrument.

I describe things in terms of body movements. I dance a bit to describe what sort of movement it ought to make, and that's a good way of talking to musicians. Particularly bass players.

The point about working is not to produce great stuff all the time, but to remain ready for when you can.

I think that there's something that I still like about the fact of a package, like the latest report from somebody. "Okay, this is what they're up to now; this is what they're doing; who's working with them?

I love the sort of ambivalence of this, the ambiguity of something - being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.

In the 19th century, a lot of people were against outlawing child labour, because to do so would be against the very foundations of a free market economy: 'These children want to work, these people want to employ them... what is your problem? It's not as if anyone has kidnapped them...'