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.

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 also worked with Marshall Jefferson for Groovy, Laidback and Nasty. So we were lucky to work with some really great people.

I think that's the fascinating thing that exists now. This contrasts with a celebrity art and celebrity music culture.

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.

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.

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.