The problem was the journalists who also did not understand much of my music, but they wrote about it. I think you fell into the usual trap laid out by parts of the press and other writers: that the poor musician has always to fight the evil companies and managers.

Because, also the world of showbiz is not just black and white, good and bad.

I listened to the rock music of that time, but as you know and can easily hear: my music of that era had nothing to do with the common music of this era. I was experimenting, I was searching for something new.

Yes, sampling has changed not just my way of playing and composing.

My interest in his new toy, the Theremin, isn’t very big. It simply does not fit into my way of playing music. I do not want to fiddle around with my hands in the air.

As always in a musical collaboration: One has to like each other. As simple as that.

Most of today’s music is done electronically.

I never had many problems to do my music and to give it to a record company. Rarely do they try to argue with me about my music, probably because it’s still too far-out.

Yes, I was invited to make the sound environment at a booth of a huge electronic company, during the Hanover Industrial Fair in 1973. It was a job. Slightly good paid. But not as much as my producer then told the press.

Manuel is still today a good friend. The others I see rarely, but with Edgar I phone from time to time.

Yes, I’m a musician. I also like to play with others, sometimes more, sometimes less.

The human voice is the first and most natural musical instrument, also the most emotional.

Every music – except dance music, which is for dancing, I suppose – is for the spirit of the human being, and not for the body.

A concert is a concert is a concert is a concert. An album is an album is an album is an album. Musically, both have nothing in common.

How did this or that change my music? The only time I have to think about it is when an interviewer asks me that.

Sometimes I like to make music together with a singer or with singers.

We are all part of a tradition, at least we depend on the past.

Then, in 1983 I went on a very long concert tour all over Europe.

Everything changes permantly. How boring if it wouldn’t.

I had to realize that the use of samples has its rules, too.

As everyone else, I was a fan of Pink Floyd in the sixties.

When I came back I had to realize that IC was not in a very good shape – all the much money that we had because of the huge Ideal success, was gone. I was very upset.

I did not start IC and Inteam to have control over my music. I had control before and after.

The problem was the journalists who also did not understand much of my music, but they wrote about it. I think you fell into the usual trap laid out by parts of the press and other writers: that the poor musician has always to fight the evil companies and managers.

And of course, the musician – if he’s serious – always answers: My last album is my best, otherwise I wouldn’t have done it.