I felt extremely uncomfortable as the focal point, in the spotlight. I really like the behind the scenes role, because all my freedom is there.

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.

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.

The difficulty of always feeling that you ought to be doing something is that you tend to undervalue the times when you’re apparently doing nothing, and those are very important times.

Of all the things you can now do, which do you choose to do?

Often, I think you find that you're enjoying certain things, you've got this new way of listening, and you find that you really enjoy the way that sounds on it and the way this other thing sounds on it and the way that other thing sounds on it. So, you're finding a new pleasure that you didn't know about before.

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.