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.
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.
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.
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.
With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That's why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.
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.
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.
What is very interesting when talking about electronic music is that - I would say that rock and roll is called the ethnic music born in America that invaded the world. Electronic music is certainly kind of ethnic music born in countries like Germany and France that has invaded the world.
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.
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.
Suddenly, we are putting ourselves as the next dinosaurs. It's rather dark; we have narrowed our dreams. It is time to restore our visions. And so it's not a nostalgic idea; it is based with this unconscious need to restore a kind of dynamic for tomorrow.
At the time, 'Oxygene' was considered a totally 'far out' concept... What was 'in' at the time was disco, hard-rock, and the early days of punk... and moreover, 'Oxygene' was instrumental. And I was French!
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.
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.