Boulez seemed to me to be a guy who wrote laws. Like a company lawyer.

I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.

My sisters were going out with artists and poets, and eventually it was the creative world which attracted me.

I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.

I think I came across Cecil Taylor a bit later, in 65 or 66. That really impressed me - Cecil Taylor is an amazing character... Both his music and the way he approaches the instrument are astonishing.

So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.

I have problems with machines which aren't gestural.