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.

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

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

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.

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

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.

I went solo because I could do much better what I wanted to do. I didn't have to ask or discuss things and ideas that are already shaped in my head.

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.

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

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

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

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

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

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