When I went back to England after a year away, the country seemed stuck, dozing in a fairy tale, stifled by the weight of tradition.

I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.

There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.

I'm fascinated by musicians who don't completely understand their territory; that's when you do your best work.

I still do mostly listen to CDs. I think that every format really is a different way of listening. If you take a different sort of psychological stance to it - like, I think the transition from vinyl to CD definitely marked a difference in the way people treated music. The vinyl commands a certain kind of reverence because it's a big object and quite fragile so you handle it rather carefully, and it's expensive so you pay attention to how it's looked after.

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

I cant duplicate my own successes, because part of the creation of that effect is making something happen that you didn't expect