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.

You can't really imagine music without technology.

Stop thinking about art works as objects, and start thinking about them as triggers for experiences.

The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.

In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.

I think that sex, drugs, art and religion very much overlap with one another and sometimes one becomes another.

You shoot your arrow and then you paint your bulls eye around it, and therefore you have hit the target dead centre.