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.

We were iconoclastic. We weren't there to sort of follow the trends really. So it was important that we were making a statement against that.

Crackdown had Dave Ball playing on it. Flood worked on our next album, and Adrian Sherwood worked with us on Code.

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.

One of the tropes of our videos is that they were very rhythmic with clipped edits.

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 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.