I think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they're inclined to encourage that.

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.

I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.

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

I had a lot of trouble with engineers, because their whole background is learning from a functional point of view, and then learning how to perform that function.

Genius is individual, scenius is communal.

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.