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.

I sometimes wish taste wasn't ever an issue, and the sounds of instruments or synths could be judged solely on their colour and timbre. Judged by what it did to your ears, rather than what its historical use reminds you of.

Everything I do feels like It's going to end up being in Radiohead.

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.

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.

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.

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.