I'm basically a musician.

I'd say that it's important for music to be there that gives you a challenge, that rearranges things in your head.

This current round of gigs, I'm just doing it using pure electronics.

There's a couple of tracks on the new record which is sort of using similar sort of rhythms as the drum and bass tracks but playing it all live. It's a new approach to it.

My history is really playing live - not writing or recording.

I think the best way is to forget about racing people and just find territory that's fresh.

Yeah, my drum programming especially is based on my knowledge of playing a drum kit. For the bass too, definitely. It was the first thing that I translated any sort of ideas through. It must have shaped it somehow.

It's important for that to exist in a society that doesn't present you with any genuine problems.

I was starting to feel really suffocated, using the sequencer.

I like my stuff 'cause I only ever end up with tracks that I really, really like. It always appeals to me.

I'm into music for all different sorts of purposes.

But I always communicate with the audience. I never pretend like I'm just in my bedroom making a track. The whole point of doing a gig is, like, a feedback thing between you and the audience.

I don't know that the best way to approach it is to try and keep up. When you're doing that, you're setting yourself into a one-dimensional sort of race basically.

Doing something like that, quite radically changing your approach to sound in one go, could leave you high and dry. It's happened before where people have changed direction and then everyone's stopped liking their music.

I don't know how many records I'm selling.

Just the type of music that was around at the same time as I was writing. Some of it was wicked, definitely. But there was just one direction which I thought could be pushed that no one was pushing.

I've never really been that much of a fan of Ninja Tune.

I'm always pleased with my work. Absolutely.

I'm not that interested in what people make of it, or how people consider me. That's nothing to do with me.

Sometimes I think that I want to do something strictly basic, really simple. Just with a few chords. But I won't have anything more than two or three sentences in my head. That kind of evaporates once I start playing and then it goes off in whatever direction.

I love traveling. I love just going about on my own, feeling I have no roots.

Because, when I'm making music, I don't think about anything, you know? All I think about is what I want to hear. So that for me is what I want - I want my head to be constantly being rearranged.

The only way to find that territory is trying to keep your mind constantly open. That's the only way that you're ever going to see the sort of signs of where to go.

Times of my life, brief periods without music, have completely felt dangerously over the edge.

I have a rough idea when I walk into a studio though.

But I don't really listen to much be-bop at all at the moment.

I make music to generate atmospheres, not to complement already existing ones.

I couldn't find a group that wanted to do what I wanted to do. No one was really up for it.

I'm basically a musician.

The main thing I'm into is going about on a bike, taking random routes; I'm really into the idea of making up journeys, and just seeing where they take you, because they always end up taking you someplace freaky.

Because there's so much stuff I don't release.

I'm starting to play all the melodies with kind of keyboard sound but playing it from the bass guitar.

The older ideas are rendering more and more bland music.

From a social networking point of view, Pakistan is not very far away.

One of the most frustrating parts about songwriting for me is production, but it makes me want to get better at it and ends up being one of the most rewarding parts of it.

When I was reporting crime... I never had the sense of clockwork conspiracies or some kind of imposing order of evil. What I sensed was things just sort of falling apart.

And as a filmmaker, I'm trying to unhook myself from this idea that unless you have a brilliant, long, enormously lucrative theatrical run, that your movie somehow failed. And I don't believe that.

When you realize the value of all life, you dwell less on what is past and concentrate more on the preservation of the future.

Fight till the last gasp.

Before 'Twilight,' occasionally I would get the 'Hey are you that girl from that movie?' but no one knew my first and last name. The fans of the saga are amazing, and it's very flattering.

I am definitely writing letters to lots of directors in my mind when I'm making a film. I'm chasing Woody Allen and Godard and Milos Forman and all these people.

Success in any endeavor depends on the degree to which it is an expression of your true self.

Censors tend to do what only psychotics do: they confuse reality with illusion.

I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way.

If you don't do what's best for your body, you're the one who comes up on the short end.

No one saves us but ourselves. No one can and no one may.

I've heard that I'm 'the future of tennis.' But that's all just random stuff.

To do anything truly worth doing I must not stand back shivering and thinking of the cold and danger but jump in with gusto and scramble through as well as I can.

I converse with my dog through ESP.