from Sounds Magazine, July 20, 1985:

George Clinton: "When I saw 'Hyperactive' I set out to find out who this guy is, so sooner or later I would meet him, and besides the fact that we're both on the same label in the States, we actually met at MTV. I was doing my thing and he was coming on right behind me, so it was like 'Hey man, you baaad', and he was offended because he thought I meant he was really bad! Then I said we ought to do something together and it wasn't too long after that, when I was mixing my album in Miami, when the company called and said he was in town. I said please get him down here, and we can go fishing even if nothing else happens. So we went fishing, had an electronic pole for him so it wouldn't be nothin' he wasn't used to..."

Thomas Dolby: "Listen, we've got to set this story straight. I would have been very willing to have gone down with a speargun, because I've never fished before, probably won't ever again, and I was really into it, Bermuda Triangle and all. George was asleep most of the time. He had a blaster with last night's rough mixes on it, and a big bag of weed, and he would be asleep and the captain would say 'Fish on!' and George would wake up and say 'Where, where, where is it?'"

George Clinton: "Oh, he beat me to the pole, all right, but he gets there and finds there's no crank on it, it's just like a DX7, man - press the button and reel it in! Anyway, we went to the studio, I played the tapes for him, said 'the studio's yours, man,' and he did his thing. That was the beginning of it. Then he called me up a few months later and said, 'It's your turn.'"

Thomas Dolby: (on his work the previous year) "It's sort of strange the way a lot of the things I've been doing over the past twelve months are going to surface around the same time. People think you've disappeared when in fact you've been working your arse off... A lot of things snowballed. The two people who I'd always sworn I'd stop whatever else I was doing to work with, Joni Mitchell and David Bowie, both wanted me to work with them at the same time, which was fairly ironic. But when I started making this single, I had such a strong urge to do it, it was really untrue. I put the whole thing together myself - just jumped on a plane to New York because I don't have an office over there, paying musicians out of my own pocket, doing cash deals... it was really quite a sweat, but it all worked out. I know that some people felt a bit touchy about the idea behind the lyrics but there's always been such a strong narrative story element in my songs, that it's very natural for me, now I'm fortunate enough to be at the stage where I know I'm going to make a video for a song, to think ahead to the video. What kind of film is this going to be? What kind of soundtrack would I write to this film? And to then come back and and record the song that way."

George Clinton: "Collaboration, association, that's what it's all about, and this one will work real good in that direction because of the different styles of the people. That girl, Lene Lovich, I fell in love with her just looking at her. She's definitely a star. And the song is a great song. It's beyond what anyone could have planned."