I think I'll always feel a little in awe whenever I see someone in their 20s or 30s carrying a cello or violin case - because I know, if they're doing it professionally, how many years of practice have gone into being able to make music with them. And the sounds they can make just hit me very hard, and feel full of limitless complexity.

Composers are influenced by all the important music in their lives - and I suppose that since radio started playing popular music, that's as likely to be The Beatles or Aphex Twin as it is to be Verdi or Ravel. They'd be strange teenagers if they didn't. But cross-pollinating happens too - Aphex Twin did more interesting things with electronic music than most trained composers, who seemed to approach samplers with undue caution and reverence in those early days.

I remember when I was in my late teens just getting rid of lots of records, realizing I only ever listened to them when I was reading, or watching TV, or doing something else.

I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.

It feels like Radiohead are famous, but that no one knows who we are. Which is brilliant, really.

I think I'll always feel a little in awe whenever I see someone in their 20s or 30s carrying a cello or violin case - because I know, if they're doing it professionally, how many years of practice have gone into being able to make music with them. And the sounds they can make just hit me very hard, and feel full of limitless complexity.

But I was in the Radiohead studio today and Phil was there drumming and Thom was there playing. We feel like we've only just stopped and already people are wanting us to carry on.