I believe that singing is the key to long life, a good figure, a stable temperament, increased intelligence, new friends, super self-confidence , heightened sexual attractiveness, and a better sense of humor.
In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the – they’ve had a whole series now of these things called Kaoss Pads.
I think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they’re inclined to encourage that.
I believe it builds character and, more than anything else, encourages a taste for co-operation with others. This seems to be about the most important thing a school could do for you.
But now you see the results of that in people who are completely crippled unless they know that they have the possibility of “cut and paste” and “undo.” And “undo” and “undo” and “undo” and “undo” and “undo” again.
For me it’s always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it’s always sound first and then the line afterwards.
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.
Because if someone does that, you can find your own position in relation to it: what is it that I don’t agree with? In the studio I want to articulate a position clearly enough so that other people can use it – or chuck it away if they don’t want it.
One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn’t if you knew better.
