Every once in a while I'll find a new way of playing something, it will suggest itself. But generally speaking, there's a set sonic potential, and that's in concert with a set instrumental technique.

I don't want to see an experiment. Experiment at home - when you show up on stage, I want to see a result. I think a lot of improvisers, you'll see them some nights and they just stink, and they go, "Well, we're just improvising." Like that's a license to have a shitty night!

When I was playing with synth players, I was still within a conceptual framework of playing music. When I started playing solo, I became much more aware of the acoustic phenomena that the instruments were producing.

I started working with synthesizer players, and I had to find new instruments. I needed a more complex sound, so I went to a surplus place and got a bunch of hard plastic stuff and stainless steel stuff, and that stuff worked. So from that point on, from the 70s on, I've made instruments.

I really like accompanying. I like working with vocalists, I've worked with a lot of poets.

I lose all track of time on that level. I used to have a really good sense of time. I didn't need a clock to play, and I had a sense of when five, ten, twenty minutes had passed. Now I can only play with a clock.

A lot of the people that I play with are electronic-based, so there isn't a direct physical analogue between what they're doing and the sound you're hearing.