Any constraint is part of the skeleton that you build the composition on - including your own incompetence.

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.

Look closely at the most embarrassing details, and amplify them.

Ideas reflect the moment, and so you have to use them. If you store ideas, they wither.

Human development thus far has been fueled and guided by the feeling that things could be, and are probably going to be, better.

If you think of the way a composer or say a pop arranger works - he has an idea and he writes it down, so there's one transmission loss. Then he gives the score to a group of musicians who interpret that, so there's another transmission loss. So he's involved with three information losses. Whereas what I nearly always do is work directly to the sound if it doesn't sound right. So there's a continuous loop going on.

I'm not interested in possible complexities. I regard song structure as a graph paper.