I don't necessarily like anniversaries that much.

For me, electronic music is like cooking: it's a sensual organic activity where you can mix ingredients.

With electronic music, you are not confined to the acoustics of a concert-hall, and that inspired me to bring my performances outdoors.

Bands like Kraftwerk and Tangerine Dream, who I respect, have a very robotic, dehumanised approach. They're almost an apology for machines. It's very German.

For me, electronic music is the classical music of the 21st century.

I consider music like a mirage in the desert. You're obsessed with the ideal piece of music, and the more you think you're getting closer, it's not there.

Electronic musicians are quite like writers or painters. They are quite isolated in their home studios. We often don't have that the opportunity to collaborate with that many people, like in rock or jazz.

From the outside, being an artist seems like a dream life, but there are much darker aspects to it.

One of the first things I created was music for the Paris opera's ballet troupe. That was the first time that electronic music was played at the opera. I really like the relationship between the music and the choreography.

When you have a young man, I mean, questioning the power in place for love of his country, not to say 'stop' but to say 'be careful about the abuse of technology,' I think it deserves to be promoted.

Our senses have changed, even though our emotions have not.

I was always interested in mixing experimentation with pop music, and Brian Eno, Kraftwerk, Tangerine Dream - we were all doing it at the same time, just very isolated from each other, all in our different cellars, in different worlds, without the Internet - underground in every sense.

The value of streaming platforms is estimated at a few billion dollars, and creators can only afford a pizza without pepperoni at the end of the year with the revenues. Without musicians, all those platforms wouldn't exist, so we urgently need an appropriate and sustainable business model for musicians for the 21st century.

To me, the original VCS3 synthesizer is like a Stradivarius.

When you think after 25 years of Mao, Chinese people had no idea about western music or even western culture. They had no idea about James Dean or the Beatles or Charlie Chaplin, modern music or modern cinema.

We all think we are connected to the world now, but we are not talking to our neighbours any more.

What may not have value to you today may have value to an entire population, entire people, an entire way of life tomorrow. And if you don't stand up for it, then who will?

When I was at the Group for Musical Research, with this idea of discovering electronic music, I quickly realized that that it was a very interesting and exciting approach to music, but I also saw that it was very intellectual and quite dogmatic.

I was recently realizing that I've probably spent 80 percent of my life in studios! It's very difficult to do that and still have a private life; it's very difficult to do anything else.

Governments can help support European music by promoting public awareness that when people take music that doesn't belong to them, they undermine the future of those very artists whose work they enjoy.

If music is to continue to support the livelihoods of artists, it cannot be taken without the permission of artists.

Music is the backbone of my shows.

When I compose an album, I don't think about how to adapt it on stage.

I am not someone who is afraid; I am someone who reasons.

When I did the first 'Oxygene' in the vinyl days, I had a structure in mind divided in 2 parts fitting the A&B sides of an album.

Most of the time, when you are in the studio, you are revealing yourself; you're a bit naked. You can express your weaknesses, your awkward way of approaching sound. Sharing these intimate moments is like inviting somebody into your private room.

People don't realize enough how important and influentical John Carpenter has been in electronic music. He did his soundtracks by himself, using mostly electronic and analog synthesizers. He's a cult figure with DJs these days for good reasons.

Some collaborators might join forces in certain cities or special concerts. I'm excited to share the stage with some prestigious people that I love and respect.

Even if we artists are all very privileged, there's a constant frustration about how to do more or better, and never being satisfied.

Sometimes, you try something, and it works in terms of success. That doesn't mean you like what is a hit. Sometimes you like the most obscure song on your album.

In a lifetime, you can say, yes, you have instances of pleasure, of happiness, you like some of your work, but your work is the entire story, and if you are not satisfied with a few moments of a few parts of that story, you would like to be able to adjust that.

We have lost our vision for the future. Before, we say, 'Nothing will be the same. Cars will fly, and we go to the end of the universe.' We have this kind of naive but exciting idea of the future. Now, the vision has been reduced to ways to select our garbage and how to survive global warming.

Emotions are the basics of any art form!

I have always been of the opinion that when those in power are promoting actions and ideals that risk harming or impeding us, people should stand up to this.

Snowden has demonstrated true love for his country. He has done something to improve the lives of people.

I always dreamed, when I started writing music, to find a way of immersing yourself in it.

People who do music do it because it is all they can do. And that's me, I suppose. I can do nothing else.

I would say to anyone starting out that if their priority in life is happiness, then don't be a musician.

Pursuing music eats into your life to the point where there is no space left for anything else. You are lucky if you find a partner who is able to understand that, but even then, they will only understand it for a while, and then things get - you know, difficult.

I wanted to create a bridge between experimental music and pop.

The major rock instruments and classical instruments were designed for performance, for sharing the music with an audience, and then later people put microphones on them and recorded them. But for electronic music, the opposite was true - they're designed in laboratories, and later, we tried to put them on stage.

If you get rid of music, images, videos, words and literature from the smartphone, you just have a simple phone that would be worth $50.

Music, photography, media, film - it's all going to be free on the Internet. We have to accept it.

Think about when you listen to a song on the radio. You are not paying for it; it's not illegal to do it, because the rights have been paid for on top, beforehand, by the radio station, by the network. We have to find exactly the same kind of system with the Internet.

We should never forget that in the smartphone, the smart part is us creators.

I thought we had opposite visions of electronic music. Tangerine Dream and Kraftwerk had a very robotic, mechanical approach. I had a more impressionist vision - a Ravel/Debussy approach.

I was obsessed with the idea that no two sounds on 'Oxygene' should ever be exactly the same. I wanted a heartbeat feel, something human.

When I first heard Kraftwerk, I thought they were an American band singing in German.

It's sometimes better to have a father figure to rebel against than nothing, than just a black hole or an absence.

Technology does not always rhyme with perfection and reliability. Far from it in reality!