I love San Francisco and Brighton has something of San Francisco about it. It's by the sea, there's a big gay community, a feeling of people being there because they enjoy their life there.
In the future, you won't buy artists' works; you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box.
I like the idea of a kind of eternal music, but I didn't want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. 'Discreet Music' was like that, and 'Music for Airports.' What you hear on the recordings is a little part of one of those processes working itself out.
When I started working on ambient music, my idea was to make music that was more like painting.
By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.
I think we're about ready for a new feeling to enter music. I think that will come from the Arabic world.
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.
In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.
I'm an atheist, and the concept of god for me is all part of what I call 'the last illusion.' The last illusion is someone knows what is going on. Nearly everyone has that illusion somewhere, and it manifests not only in the terms of the idea that there is a god but that it knows what's going on but that the planets know what's going on.
If I tried to make a commercial album, it would be a complete flop. I have no idea what the world at large likes.
Democracy is a daring concept - a hope that we'll be best governed if all of us participate in the act of government. It is meant to be a conversation, a place where the intelligence and local knowledge of the electorate sums together to arrive at actions that reflect the participation of the largest possible number of people.
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.
I used to think that, given enough goodwill, anybody would be able to 'get' any music, no matter how distant the culture from which it came. And then I heard Chinese opera.
If you grow up in a very strong religion like Catholicism you certainly cultivate in yourself a certain taste for the intensity of ideas.
I've got nothing against records - I've spent my life making them - but they are a kind of historical blip.
Although cover notes for classical music albums tend to say that the trill of flutes suggests mountain streams and so on, I don't think anybody listens to music with the expectation that they're going to be presented with a sort of landscape painting.
Lyrics are the only thing to do with music that haven't been made easier technically.
You can't really imagine music without technology.
I've noticed a terrible thing, which is I will agree to anything if it's far enough in the future.
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.
Honor thy error as a hidden intention.
Gospel music is never pessimistic, it's never 'oh my god, its all going down the tubes', like the blues often is.
When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.
The artists of the past who impressed me were the ones who really focused their work.
When we go out to the country and just sit there, what we're really doing is just switching off various kinds of alertness that we don't have to use. When we do that, we are stopping being defensive. We are no longer shutting ourselves off from different types of experiences, we are welcoming them in.
Even though I'm known as a pop musician, I have a seriousness about what I do.
Anything popular is populist, and populist is rarely a good adjective.
The smart thing in the art world is to have one good idea and never have another.
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.
I belong to a gospel choir. They know I am an atheist but they are very tolerant.