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.

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.

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.

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 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.

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

As sonic journalists, we were increasingly becoming bombarded with global images. It was the early idea of the cut-up, the idea of images being juxtapositioned, which we were doing with sound. That was the early days of samples.