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But when they came on stage that night, I watched the first song and just thought: ‘What?! Most of the songs they played in their 30-minute set ended up on the first album.

I couldn’t believe what I’d heard; great songs, unbelievably well-arranged.

I played the single to Pete from Small and he said: ‘Yeah, not too bad. College and alternative radio started playing it in America; I didn’t even know what alternative radio was — I didn’t even know what distribution was! It was one of the first post-punk electronic singles; it came at the same time as others like Human League, Cabaret Voltaire, the first Throbbing Gristle single…I thought I’d bought this cool underground record. Woolworths would buy it automatically, along with all the jukeboxes. So selling 15,000 was a successful underground record. My father had passed away, but I was staying at my mother’s place at the time. I was in a position where I had to make a decision: I was getting demo tapes, which I didn’t really like that much and I didn’t want to start a label.

I’ll take ten.” Then I went to the Rough Trade shop and talked to Judith who was working in the shop. How did she feel about it — didn’t she want you to be a doctor or a lawyer? She wanted me to do what I want to do — whatever I had a passion for. By 1960s London standards, my parents were relatively bohemian. My father was an actor and had his own German-speaking theatre for refugees during the war. Then I was introduced to Fad Gadget [Frank Tovey] by a guy called Edwin Pouncey — the NME punk cartoonist who went under the name of Savage Pencil.

That was my first hands-on experience with a synthesiszr and it blew my mind. Let’s jump to the late 70s—why did you start a label?

Punk was happening, and the whole DIY, release your own records thing was in bloom.

You might also have reasonable cause to paint Daniel as a techno DJ, a canny entrepreneur and a skilled photographer.

He said: ‘Of course, send me them.’ So we did, and he said: ‘These are really good, come and have a meeting.’We were 16 or 17 at the time.The college had a little sound studio with three ¼-inch tape recorders in it, and we used to do experiments with tape loops and things like that.We’d also have guest lecturers; one was Ron Geesin, a poet and sound artist who’d just worked with Pink Floyd, and he’d just bought a synthesizer — an EMS Synthi A, basically the same thing Brian Eno used in Roxy Music but in a suitcase.When I asked her if she’d be interested in the record, she said, I’ll go and see Geoff [Travis], who was working in the back. It was the first thing I’d heard that I’d really liked. When you shoot film, you normally shoot it with sound. Fad Gadget’s single came out in 1979 and we started working with a couple of other artists — D. F, significantly, which was the first album release on Mute.He and Richard Scott, his business partner, listened to it in the shop, in front of all these super-cool people. I was thinking: ‘They don’t like it.’ When it finished they said: ‘We love it, we’d like to do a distribution deal for you. ’I said 500 and they said, no, you’ve got to do at least 2,000. Jane Suck at Sounds Magazine got hold of a test pressing, reviewed it and made it ‘Single Of The Century’. It then got other good reviews and John Peel played it. Then I met Frank, who was Fad Gadget, and we got on really well. When you shoot it without sound, it’s called ‘mute.’ Because I was working in a cutting room, an editing room, I saw this word Mute everywhere. Fad Gadget made our second album, and he was promoting it doing gigs around London.

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