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.

If you're going to change things, one of the things we had to change is to get away from that traditional model of rock music, and we were a part of that.

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.

We were coming from a completely different place, which was saying "sound" is what you want to define it as, and you can shape it into music in whichever way you want.

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.

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 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.