I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.

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

I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.

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.

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.

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.

This was in the sense that if Dada was reacting to the morality and aesthetics of pre-WWI, then we were very much a reaction to the pomposity of rock that existed within music at that time.