The trick with computers I think, is to approach old and new things with the same reverence as you would like your favourite chair and not be seduced by the constant innovation otherwise you never do anything.

When we rehearse, we’re always trying to aim for something else. But we never quite succeed in getting there.

Coltrane would do what you’d get a Roland Pro Tools module to do but with a group of jazz musicians.

I don’t listen to much modern composition.

People need to focus on bigger issues instead of whether George Bush is an idiot or not.

The guitar is a much more efficient machine than a computer. More responsive.

In Kid A and Amnesiac, the guitar becomes one more texture, difficult to separate from other textures.

Jonny doesn’t want to do TV interviews because he thinks that he comes across as an idiot.

I’ve seen the Mass For The End Of Time in concert but my brother’s the more musical one really.

I’m going to have classical piano lessons next.

There’s no point apologizing about where you come from.

The thing about rock is that people are not just interested in bands because of where they want to go. It’s where they want to escape from that matters.

With our website we didn’t want people to come to our site and find out about Radiohead. We wanted them to come to our site and find out about what Radiohead are finding out about.

You should approach a sequencer like you would a Dobro guitar.

I mean, I’m in a band, we’re reasonably successful, I’ve got a very nice suit – I’m not even a bad person- so why can’t I get a shag?

Our site should be like Paddington Station with a much better version of WH Smith’s in it.

With Dollars And Cents on the album, we had it as a band jam and I sometimes spend evenings playing with records over the top of things we were working on to see what works.

We are kind of one step removed, not really in the center of things.

Motion Picture Soundtrack on Kid A was another Coltrane inspiration.

Warp was important to Thom about two years ago when he was looking for different sounds.

We try to treat everywhere we play differently and that’s really important.

Bill Withers and Curtis Mayfield, those are the people who informed me in playing the bass.

If you’re working on a computer and you’re editing bass, it looks like a warm curvy, sort of feminine object.

My page is junk, because I hate putting anything to do with me on the site, it just feels wrong.

In OK Computer, the guitar was already moving towards a tone generator as well as a riff generator.

It’s a full on job just looking for human social responsibility.

Phil is a real drummer’s drummer.

I trained as a classical guitarist but that was it.

For me that’s what’s fascinating about the internet, that aggregate thing.

I don’t think anything’s underground anymore. And I think that’s a good thing. Everything is up for grabs.

We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.

The trick with computers I think, is to approach old and new things with the same reverence as you would like your favourite chair and not be seduced by the constant innovation otherwise you never do anything.

Limits are very important.

One of the books we read a few years ago that had a big effect on us was Repeated Takes by Michael Chanan.

You should approach technological things in a nostalgic way.