Most people just give up with time and go, "I'm a victim." The only reason I've got the reputation for delays and spending a long time on things is because I just don't stop.

I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general. I always had a fascination with that sound. It's a mixture of the idea that something could be going wrong along with the idea of bending constrained, Westernized music out of tune. But because I wasn't copying an idea, and it just came from somewhere inside me, it felt like a birth of something that most people didn't understand at the time.

Skepticism is only a time-based reality, and as an ultimate reality, it's always wrong, because everything always happens.

The technical reason why remastering is valuable is because, up to around the late 90s, there was this endpoint called zero, and you couldn't get louder than zero.

The corporate system is fully psychopathic, and any creative people who enter into business with any of these organizations come up against a lifetime of issues. You just deal with it as you go along. It'll keep on happening until people reorganize the organizations.

The French were always masters at mid-range. And I like the attitude.

We've had incredibly huge obstacles in our way - no tapes, no royalties, no cooperation on any level - and we sort it out.