I think what we tried to do lyrically, vocally and musically was to capture a sound.

Music doesn't have to be so rule-based - and so strict in its structures, construction and perception.

In that period, we had the Cold War mentality imbued through us - the Post-war [environment] and the Cold War. I think we were reflecting some of that. This was before the Wall collapsed, etc.

We've always been observant of things, and I think Crackdown was very much like that and the film interpretation was that journalistic view of that situation.

I don't think it had a name when we started. If punk has any roots, Dada is part of it. And we saw ourselves as part of a kind of Dada tradition.

We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now and U2's producer, etc. Even though we weren't working in a strictly popular music area, which was great, we were lucky enough to work with people who were on the cusp of those sort of things.

I think you have a certain level of confidence in what you do. "Arrogance" is the wrong word. I think when you go into it, you're aware that you're doing it for the right reasons - and you have your own moral and ethical code. And we weren't driven by money, but by a a desire to make music and make a statement.