Thom: "'Go To Sleep' was one we never thought... a track that we kind of didn't think we'd get off the ground. A few times, that we played it live to people, it was just this embarrassing sort of guitar noodle thing, that just didn't really work out or would just collapse halfway through, it was aweful. But we sort of kept going, and kept going. And it was one of those ones that we just expected to die all the time, and then it didn't. And then it turned into this really jubilant thing, you know. And there's bits of Phil's playing in that... the way he plays really, really lose at the moment, which is great, you know. I think it's sort of quite sexy and it really... it's not something we... you know, normally we play uptight, but I think at the end of Kid A and Amnesiac we suddenly weren't playing uptight anymore. And it's a good thing for us, I think.
And the lyrics themselves were just... I mean, I had this whole thing about the record, where I really, really wanted it to write itself, where I really didn't want like any sort of mandate or we're trying to prove anything or whatever. It was just... I think that was a payback from the Kid A/Amnesiac thing, where I think in a way I was quite shocked about how suddenly... you know, the way everybody interpreted about this big sort of left turn deliberately or whatever, whereas to me it didn't really feel like that. It was sort of logical progreesion. But obviously not, or something, I don't know. So I was like 'ok, I'm just not gonna think about this at all from my point of view'. So when I was writing the lyrics, it was sort of... whatever was coming out of my mouth, if I thought it was half decent I'd make a note of it. And then 'Go To Sleep' was like... it was literally whatever was coming out of my mouth. And I just had a look at it in the end, and to me it was nonsense all the way through, and I was like 'it's ok'. You know, much of the lyrics on this record I'd say 'Obviously I'll rewrite this in the end, chaps. At the moment this is just nonsense.' And they were going 'Really? Ok'. And that was one where it was all kind of... at the time I thought it was complete nonsense. And then it turned into this really amazing thing, that, to be honest, wasn't me, really. Didn't feel like me at all. In fact I've done it, which is great. I mean, that's how I remember when I first started writing songs, when we first were in the band as well, that's how I remember doing it. I think you get all this baggage over the years, that comes up through the analysis and stuff. And you start like worrying about the consequences of what you might say in this track or that track. And it ultimately ends up being bollocks, really. And also, I mean, I think Kid A and Amnesiac were born out of that. The way I was trying to write there was a way of trying to deal with that. Whereas this time it was like 'whatever, I'm not interested what the consequences of this are', you know. 'This is just what I do today. Gotta get home at lunchtime anyway'."
Colin: "For me, what summed the record up was a track called 'Go To Sleep', which we were rehearsing. And it's got a sort of folky first half, and then it sort of grooves out in the second half. And we had this great sort of 1960s English sort of folk, I don't know, west coast thing going, early garfunkel, first half. It was brilliant. And then we couldn't have an outro, so then we just played it through and recorded it like in one take. And it sounded great, but we sort of lost the first half of the song. What I'm saying is, people didn't come into the studio with like 'this is how everything should sound, and if it's not gonna sound like this then I'm going to throw my toys out', or just freak out or not be happy or... You know, everyone was like very 'well, if it didn't work out, that's fine'. because everyone was relaxed about it. We created a space for something unexpected, and it's good or sometimes better to replace it."