Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing - 'Oh, let's put that sentence there, let's get rid of this' - have become commonplace in films and music too.

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.

There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.

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.

One often makes music to supplement one's world.