I think we saw our reaction coming from Dada, but at the same time, it formed into punk, which was very much a reaction to the social conditions. That was part of it for us as well, and that's why we were kind of swept along with punk.

Even if that statement was ambiguous, we kind of wanted to cause a stir. We thought that by having the name "Cabaret Voltaire", that with it came a certain responsibility. It wasn't meant to be purely entertainment; it was meant to be something a little bit more serious - and to provoke people - wrapped within an outer wrapping of entertainment.

I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture the movement of film and cross-reference it with music.

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.

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

We were working in entertainment, in the music industry, with popular music, it was important, but it was something that we also felt was a responsibility.

We were responding to a period in the 70s when we started that it was very much you cannot be involved in music unless you studied to do music.