At the same time, if you look at all my writing, underneath all the changing ideas, there are consistencies, there are preoccupations that recur. A lot of my “table” was laid out early on, in the Melody Maker writing that went into Blissed Out, and I have often found myself returning to those early conclusions and expanding them, complexifying them, going into further depth with those ideas.
On the other hand many of the obsessions of that time seem dated and questionable: the fixation on jouissance, this cult of an asocial, anti-historical bliss that is at once mystical and nihilistic. That seems an inadequate model to explain every kind of musical pleasure and significance. But it does describe a certain moment in music culture, as well as in my life, the late Eighties. And if I hadn’t put all my energy into making my ideas into a consistent systematized theory of music ... well, I don’t think the writing that made up Blissed Out would have had the impact it did or even the entertainment value it has as prose.