The difference between noise and music is in what the musician does with the sounds.
Suddenly, we are putting ourselves as the next dinosaurs. It's rather dark; we have narrowed our dreams. It is time to restore our visions. And so it's not a nostalgic idea; it is based with this unconscious need to restore a kind of dynamic for tomorrow.
Technology is neutral, but it all depends on the way we use it.
Saying that you don't care about the right to privacy because you have nothing to hide is no different than saying you don't care about freedom of speech because you have nothing to say.
I think that in any language when you have a real relationship, and there is love and respect between people, infidelity is always something difficult to accept - whether you are Chinese, British, French. I think that is a universal concept... or problem.
One of the first things I created was music for the Paris opera's ballet troupe. That was the first time that electronic music was played at the opera. I really like the relationship between the music and the choreography.
When I heard Edward Snowden's story, it reminded me of my mother in a strange way. She was in the French resistance from early on, 1941. At that time, the Resistance were considered troublemakers - even traitors - in France.
I don't necessarily like anniversaries that much.
When you have a young man, I mean, questioning the power in place for love of his country, not to say 'stop' but to say 'be careful about the abuse of technology,' I think it deserves to be promoted.
Generation after generation, there is this never-ending, contemptuous, condescending attitude to the next generation or the next way of thinking: music, art, politics, whatever. And I have never been like that.
My father and I never really achieved a real relationship. We probably saw each other 20 or 25 times in our lifetime.
For me, electronic music is like cooking: it's a sensual organic activity where you can mix ingredients.
I had no precise plan when I started 'Electronica,' but I think it has been a very positive journey for me.
Our senses have changed, even though our emotions have not.
Bands like Kraftwerk and Tangerine Dream, who I respect, have a very robotic, dehumanised approach. They're almost an apology for machines. It's very German.
I was always interested in mixing experimentation with pop music, and Brian Eno, Kraftwerk, Tangerine Dream - we were all doing it at the same time, just very isolated from each other, all in our different cellars, in different worlds, without the Internet - underground in every sense.
'Oxygene' was one of the first, if not the first, popular electronic music album.
From the outside, being an artist seems like a dream life, but there are much darker aspects to it.
I understand more when I travel why people believe that the French are arrogant.
The value of streaming platforms is estimated at a few billion dollars, and creators can only afford a pizza without pepperoni at the end of the year with the revenues. Without musicians, all those platforms wouldn't exist, so we urgently need an appropriate and sustainable business model for musicians for the 21st century.
