As soon as you impose Western chords on an Indian scale, something great collapses.

I trust microphones, speakers and recordings less and less, and no longer buy into the idea that I can recreate at home, or in my earphones, the experience of hearing live acoustic instruments. The orchestra is already a set of speakers that react differently to each player, each room and each concert - it's that high level of uncertainly and unrepeatability that I like. The music is just soaked into the walls of a room straight from the instruments - and it's a one-off deal. The alternative - left speaker, right speaker - is kind of a compromise.

My style is so tightly tied in with our songs that I don't think you could even ask me to quit Radiohead and play guitar for another band. I don't think I could do it. It would probably reveal me to be the bluffer that I believe I am. That's how it feels. I wouldn't have the confidence to do anything but this.

As soon as you impose Western chords on an Indian scale, something great collapses.

I fell in love with electronics, which for me was the terra incognita, because I had never heard such sounds. If you'd asked me 50 years ago, I would have said the future of music is only electronic, but I would have been wrong. I learnt how to produce everything I needed with live instrumentalists, so I don't need electronics.

People will have MP3s of every Miles Davis' record but never think of hearing any of them twice in a row - there's just too much to get through.

I don't mind when people are telling me about their 1971 Firebird, but it's the same thing as people telling me about their car or something. It's fine if you have an interest. By talking with me, though, you could be interviewing a novelist about guitars. It's the same thing, except I don't write that well either.