I wanted to get rid of the element that had been considered essential in pop music: the voice.
I've discovered this new electronic technique that creates new speech out of stuff that's already there.
In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.
Most of those melodies are me trying to find out what notes fit, and then hitting ones that don't fit in a very interesting way.
My guitar only has five strings 'cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.
Nearly all the things I do that are of any merit at all start off just being good fun, and I think I'm sort of building up to doing something else quite soon.
One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.
People assume that the meaning of a song is vested in the lyrics. To me, that has never been the case. There are very few songs that I can think of where I remember the words.
Robert Fripp and I will be recording another LP very soon. It should be even more monotonous than the first one!
The philosophical idea that there are no more distances, that we are all just one world, that we are all brothers, is such a drag! I like differences.
The reason I don't tour is that I don't know how to front a band. What would I do? I can't really play anything well enough to deal with that situation.
Avant-garde music is sort of research music. You're glad someone's done it but you don't necessarily want to listen to it.
I believe in singing.
For instance, I'm always fascinated to see whether, given the kind of fairly known and established form called popular music, whether there is some magic combination that nobody has hit upon before.
I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.
Every band I've worked with also wants to be countercultural in the sense that they want to feel that they've gone somewhere that nobody else has been.
I've got a feeling that music might not be the most interesting place to be in the world of things.
In England and Europe, we have this huge music called ambient - ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.
Everybody thinks that when new technologies come along that they're transparent and you can just do your job well on it. But technologies always import a whole new set of values with them.
The computer brings out the worst in some people.
