"I had an English teacher in high school. You know how every high school has a super hip teacher? Mine was this guy named Leonard Krill. I had been a big fan of David Bowie, and I think Talking Heads had just put out Remain In Light, and of course I knew Brian Eno because he he worked with Bowie and produced Talking Heads and Roxy Music. My Life In The Bush Of Ghosts came out and I couldn't afford to buy it, but Leonard Krill loaned it to me so I could tape it. It was again one of those records that I didn't fully understand, because all the vocals come from these weird, disparate sources. I kind of thought because I was listening to a David Byrne and Brian Eno record I would hear David Byrne and Brian Eno's vocals, that it'd sound like one of the records they'd made. On the first listen I didn't quite get it, but after that it became one of my favourite records. In 1999 when I put out the album Play, I was doing some interviews and people were asking where did I get the idea of putting other people's old vocals onto rhythmic music, and I said 'it all started with My Life In The Bush Of Ghosts. Without that album I would never ever have had the idea to sample old vocals and put them on my tracks'. It was a direct inspiration - in a really simple way I was copying my heroes. I can't think of any person who has affected modern music more than Brian Eno. If you invented a fictional character like Brian Eno it'd be almost unbelievable."