I think I have a particular logic of my own that has to do with sound and sampling sound, and there isn't a great deal of music out there in that field. Whereas, harmonically and melodically, there's loads.

Pigs are very intelligent. They're very misunderstood. Yet they're sort of man's unofficial best friend.

I've heard the sound of 70 condoms being scraped over the floor at the British Museum. It feels like being an adventurer. Why would you stay in your living room if you could go out and experience things no one's ever experienced?

I came out of an electronic music scene that based all its music on software. It was a real boys thing, a real testosterone thing - software and the relationship between music and the software - to the point where it was like a closely guarded secret.

I don't listen to a huge amount of music generally. Partly because you've sat in a studio for 10 hours and then when you come home you just want to read a book, and listen to the sound of your central heating system.

I know I have patterns and I've always tried hard to avoid them. There are definitely certain things in my music, if I'm looking back, "Well, that was a period where I was experimenting with a certain kind of chord structure or a certain kind of sound." I've tried really hard, but I'd be hard pressed to tell you what that sound, what that tangible sound of "me" is.

I think rhythm is, when you talk about rhythmic sensibility, quite perceptive in that I like to have at least one thing that is at least common or familiar to the audience.