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.

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.

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.

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

You don't have to be trained in music to create sounds and to produce and release music. That's what we were saying back in 73-74. And that's the way the world is now - and all the tools of creation, production and dissemination are there in everybody's bedrooms, front rooms and studios.

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