Style

I suppose that, in a sense, you can't escape your own style. So, in one sense that's true. But, of course, I'm always interested in something when it isn't familiar to me. So, there's a kind of edge to what you're doing, the kind of leading edge of what you're doing. Inside that edge [are elements you] are familiar with, and are probably becoming slightly bored with, as well, over a period of time. "I've pulled that one out before. Oh, no, I can't I'm just fed up with that. Let's do something else." So, there's that, and then at the edge of things, there's some new things you're starting to do and to find exciting. And you always think "Oh my God I've never done anything at all like that before." But, of course, in retrospect, and to an outsider, they'll say, "Oh, yeah that's typical Eno."

It's just like I was saying about when you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they're not obvious at the time. So, when I look back at my own work, I could easily write a very convincing sort of account of it that made it look like I had planned it all out from day one and that this led logically to that and then I did this and then that followed quite naturally from that. But that's not how it felt. It always felt [like], "Oh God I've never done anything like this before; that's so exciting!"

Brian Eno