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 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.

I edited Big Funk, some of the footage was shot by Peter Care. We were film buffs as much as music buffs, and so there are film reference as well as sound references.

Looking back, I think we were very much a part of democratizing music, and we wanted to demystify the process of making music - to show it's a myth.

Even though we were influenced by American culture and music, we like the rest of Europe have been colonized with that in the post-war period. At the same time there's a sense of dirty earthiness and Europeanness and Britishness in it as well.

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

We had always used found sound, but we had always used it in an analogue way. And it was the early days of using collage and sound in a digital way. MTV, a couple of years later would be that way.