I'm Bloody Awful At Multi-tasking.

The Micro-compositions Are The Pieces Themselves, But The Macro-composition Is The Whole Set Of Them And How It Moves From Track To Track And How The Titles Relate To One Another, For Example. Always When I Do Records Like This Of A Selection Of Instrumental Pieces - The Titles, To Me, Are Very Important.

When I Was Working With Talking Heads What Would Happen Typically Is That They Would Go Out And Start Playing A Track, And I Would Always Run The Tape. I Always Record Everything, Even A Run Through Where You're Trying To Get In Tune. That's A Principle Because Sometimes When The Situation Isn't Clear Interesting Things Happen, And They Are Worth Listening To Again.

Everything Is An Experiment Until It Has A Deadline. That Gives It A Destination, Context, And A Reason.

Sometimes Something Intrigues Me About Particular Sounds, How They Work Together, And I Think "okay, I've Found Something Here; I'm Going To Take It Somewhere." And Sometimes Just To Find A Name For That Sound, Whatever It Is, Ends Up Becoming A Title Of The Piece Or Becoming Part Of The Title.

I Know That If I Had A Television In My Flat I Would Convince Myself That Everything On It Was Really Interesting. I Would Say, 'i'm A Celebrity - Get Me Out Of Here!' Is So Sociologically Fascinating That I Think I'd Better Watch.