When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape. I always record everything, even a run through where you're trying to get in tune. That's a principle because sometimes when the situation isn't clear interesting things happen, and they are worth listening to again.

I wanted to get rid of the element that had been considered essential in pop music: the voice.

Genius is individual, scenius is communal.

Attention is what creates value. Artworks are made as well by how people interact with them - and therefore by what quality of interaction they can inspire.

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

I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.

Since I have always preferred making plans to executing them, I have gravitated towards situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend towards the roles of planner and programmer, and then become an audience to the results