The latest thing that has caught me by surprise is Maryanne Amacher. I like sound that affects the listener physically. Traits such as complexity or simplicity don't really become a factor then. It's just the sound that I pay attention to.

Even back then I really didn't enjoy playing chord changes, riffs, and solos when I was young. The only thing I enjoyed playing were these Robert Fripp-type double-picked loops that no one wanted to hear, including me; I just liked playing them.

Even on guitars I've had misfortunes. I never used to clip the strings on my guitar and then one day I accidentally poked my right eye with the E-string. My eye just wouldn't stop tearing up and I could barely keep it open. The doctor said I didn't do any major damage, but I had to wear a patch for a little while. I still have a tiny red mark on my eyeball from it; I'm still not sure it's the same.

My setup for a live performance lately has been just guitar and synthesizer. Sometimes I only bring one. The guitar is in pretty bad shape and isn't sounding the same. Most of the time my live approach has been pretty different from recording.

I only use the computer for editing. I don't have an eight-track, otherwise I probably never would have bought a computer. When I first got my Mac, I was exploring its possibilities and had fun with all of the sound hacking software, but I'm not interested in that approach. I toyed with the idea of releasing a 12-inch of all the stuff I did early on but good sense prevented me from doing so.

At a certain point, I started playing improvised music. After a couple of years of this, I did a little bit of analysis and found most improvised music the kind I was listening to at least, which was mainly European to be as, if not more, formulaic than any other kind of music. For example, improvised pieces would often begin and end in the same way.

From the time I wake up until the time I go to bed, music is unfortunately on my mind, on my stereo, or I'm making it or talking about it.