I do like Burial; he's so curiously clumsy, you can't help but be moved. It's so un-Hollywood, and the rhythms are so un-danceable.

Instruments sound interesting, not because of their sound, but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments, which is what you like and respond to.

My kind of composing is more like the work of a gardener. The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when - and he won't necessarily be able to reproduce it again afterwards either.

Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.

If you grow up in a very strong religion like Catholicism you certainly cultivate in yourself a certain taste for the intensity of ideas.

Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.