I have more respect for somebody who points at his ideal - in this case, the ideal of the pirate - and then becomes something that's more radical, more exciting, more subversive than a pirate could ever be.

I feel like, for me, reading Thomas Merton is like “Wait a minute, this is a rabbit hole. This isn’t a gateway or a ticket to anything except itself”. When you're a ways into it, you're five pages in, 20 pages in, 30 pages in, it seems like one of the more oxymoronic undertakings you could attempt.

Whenever I see something that looks like it could be good - whether it's on vinyl, CD or cassette - if it's not too expensive, I'll take a chance.

I gathered all the different Peel Sessions recordings together - I did six or seven of them over the years - and listened to all of them. These definitely have at least a superficial relationship to each other because they're all very spare.

To me, recordings are little fourth-dimension artifacts, because they already are representatives of past, present, and future, just inherently in their existence.

I don't like the idea of being surrounded by hidden things; people you can't see in buildings and cars.

The ideal is to put on shows where, if you go into the same space again, you don't remember ever having been there before, because where you were was a space that only existed that one time, created by the music.