As sonic journalists, we were increasingly becoming bombarded with global images. It was the early idea of the cut-up, the idea of images being juxtapositioned, which we were doing with sound. That was the early days of samples.

I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.

I think that's the fascinating thing that exists now. This contrasts with a celebrity art and celebrity music culture.

We also worked with Marshall Jefferson for Groovy, Laidback and Nasty. So we were lucky to work with some really great people.

I think underneath it all [in the Big Funk] was a little bit of a Europeanness in it.

Some of it was shot in Berlin, but a lot of it was filmed in Hamburg, along the Reeperbahn in Hamburg in the famous red light district. Kino is obviously German and "film" and "cinema" and we were always cinematic in our thinking.

It was an important period for us, because even though we weren't a "punk band", and what became a model for a punk band, we were able to be dragged along by the spirit of that time.