"We’d been reading ‘Silence,’ by John Cage, and that was the last key really. Chairs scraping can now be the music; what do we want to include? No drummer, because music is so quickly fixed and made traditional and acceptable by the four-four-drum pan of the rock music. Then why do you need to know how to play? What is an instrument? Something that makes a noise, amplified or not. We don’t need to know how to play. What’s around? What can we use, in the spirit of a Duchamp readymade?... [Cossi Fan Tutti] didn’t like electric guitar, because it was too heavy, so we got an electric saw and sawed off the bits we didn’t like. I didn’t really like the trying to learn where to put my fingers, and it wasn’t necessary for our purposes. Another member, Sleazy, who was Peter Christopherson, was really into William Burroughs, so he said, 'I’d really like to involve cutups, with a tape recorder.' He altered walkman tape recorders so when you played a cassette you could hear both sides at the same time..... Chris built synthesizers. Nobody was using them in England. We said, 'That’s great—it’s very anti-rock.'... Industrial music for industrial people.... And little did we know it would become a global phenomena—from that tiny space and four people who couldn’t play.... We had a big digital clock onstage, and we played only an hour; we were clocking on and off.... We had wanted to make music like Ford made cars on the industrial belt. Industrial music for industrial people."
From "Industrial Music for Industrial People: The Singular Legacy of Genesis P-Orridge" (in The New Yorker)(and here's where we talked about the NYT obituary for P-Orridge).