"Well, I just bought a massive bank and I've moved into it on my own"
About this Quote
It lands like a throwaway brag, then immediately curdles into something lonelier and stranger. Richard D. James - Aphex Twin, patron saint of techno mischief - frames an absurd image: not “I bought a house,” but “a massive bank,” and not “we moved in,” but “I’ve moved into it on my own.” The joke is architectural. A bank is a building designed to store value, enforce trust, and keep people out. Choosing it as a home turns security into isolation, wealth into vacancy, power into a kind of self-imposed bunker.
That’s the subtext James likes to smuggle into casual speech: capitalism’s monuments are eerie when you remove the crowds. The line reads like anti-rock-star posturing, too. Instead of the expected trappings (cars, mansions, entourage), he goes for an institutional fortress, then undercuts it with solitude. The flex becomes a confession: what do you do when you can afford anything? You buy the symbol of money itself and still end up alone inside it.
Context matters because James’ public persona has always been half-truth, half-prank - interviews that feel like glitch tracks, facts that may be real or may be a performance of “real.” That ambiguity is the point. Even if it’s literally true, it functions as a myth about him: the artist as security system, living inside the vault of his own legend. It’s funny, but it’s also a bleak little parable about turning success into a sealed room.
That’s the subtext James likes to smuggle into casual speech: capitalism’s monuments are eerie when you remove the crowds. The line reads like anti-rock-star posturing, too. Instead of the expected trappings (cars, mansions, entourage), he goes for an institutional fortress, then undercuts it with solitude. The flex becomes a confession: what do you do when you can afford anything? You buy the symbol of money itself and still end up alone inside it.
Context matters because James’ public persona has always been half-truth, half-prank - interviews that feel like glitch tracks, facts that may be real or may be a performance of “real.” That ambiguity is the point. Even if it’s literally true, it functions as a myth about him: the artist as security system, living inside the vault of his own legend. It’s funny, but it’s also a bleak little parable about turning success into a sealed room.
Quote Details
| Topic | Witty One-Liners |
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