LR: That was done after September 11, so that's very much a reflection of that. I had been working on that piece, and in the interim the thing went down, and then one day I went and did it.

It's complicated how that was done. There's no guitar. I wanted to get a certain Metal Machine Music guitar sound, and I waited a long time for the technology to get to the point where you could do that. I've been talking with computer guys for a long time, talking about a certain thing I wanted to have happen, and they said to me, "Listen, that's impossible, what you're talking about." And then I found a way of doing it. The minute I could hear it I could play it, 'cause I heard the tone — bingo, I was home free.

I could play it if I could hear it; if I can't hear it I can't play it. But put it this way: I couldn't do it again. That was of the moment, like a lot of things I do, which is a drag in some ways. "Fire Music," for example, two and a half minutes or whatever it was — that was it. I shot my load. I couldn't do it again, because I don't know how I did it.