It's nice, I think, when people use your music for things you didn't think of.

When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn't expected or predicted by what I supplied. Once phase two begins everything is okay, because then the work starts to dictate its own terms. It starts to get an identity which demands certain future moves. But during the first phase you often find that you come to a full stop.

I'd love it if American kids were listening to Muslim music.

Most big concerts sound disgusting and awful and insultingly bad. It's like going to the cinema and been shown a scratchy film which is upsidedown and the bulb had gone on the projector. The quality of large-scale live music is so shocking.

For the world to be interesting, you have to be manipulating it all the time.

One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.

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.