One of the things you're doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.

Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.

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

In my normal life I'm a very unadventurous person.

My kind of composing is more like the work of a gardener. The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when - and he won't necessarily be able to reproduce it again afterwards either.

It infuriates me that stuff from the Internet routinely doesn't include all the credits. Because as soon as I listen to something, if I like it, I want to know, "Who's the bass player?" "Who did that?" "Who's the engineer on this?

I'm very good with technology, I always have been, and with machines in general. They seem not threatening like other people find them, but a source of fun and amusement.