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.

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 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.

In the 80s, we were still living in a kind of Cold War environment.

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.

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.

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.