People assume that the meaning of a song is vested in the lyrics. To me, that has never been the case. There are very few songs that I can think of where I remember the words.

If you watch any good player, they're using different parts of their body and working with instruments that respond to those movements. They're moving in many dimensions at once.

There's a kind of edge to what you're doing, the kind of leading edge of what you're doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. "I've pulled that one out before. Oh, no, I can't I'm just fed up with that. Let's do something else."And you always think "Oh my God I've never done anything at all like that before." But, of course, in retrospect, and to an outsider, they'll say, "Oh, yeah that's typical Eno.

I do love being in my studio. Especially at night.

I make a lot of pieces of music that I never release as CDs.

With devices my technique is always to hide the handbook in the drawer until I've played with it for a while. The handbook always tells you what it does, and you can be quite sure that if it's a complex device it can do at least fifteen other things that weren't predicted in the handbook, or that they didn't consider desirable. It's normally those other things that interest me.

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.