Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.

Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.

One way of working is just bring a group of totally different musicians together and encourage them to stick to their guns, not to do the thing that normally happens in a working situation where everyone homogenizes and concedes certain points - so eventually they're all playing in roughly the same style. I wanted quite the opposite of that. I wanted them to accent their styles, so that they pulled away. So there would be a kind of space in the middle where I could operate, and attempt to make these things coalesce in some way. In fact quite a lot of my stuff has arisen from that.

I would like to see a future where artists think that they have a right to contemplate things like global warming.

The trouble with New Age music is that there's no evil in it.

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.

Feelings are more dangerous than ideas, because they aren't susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.