On "Tonight" I think I was torn dreadfully between writing what I wanted to write, but keeping it in a style that would follow up what I had just done. That's where I feel I was untrue to myself as an artist . . . that album and, to a lesser extent, "Never Let Me Down."

Some of us, I think, us small, pompous arty ones probably read too much George Steiner and kind of got the idea that we were entering to this kind of post-culture age and that we'd better do something postmodernist - quickly, before somebody else did.

I suspect that dreams are an integral part of existence, with far more use for us than we've made of them...The fine line between the dream state and reality is at times, for me, quite grey.

I surrounded myself with people who indulged my ego. They treated me as though I was Ziggy Stardust or one of my characters, never realising that David Jones might be behind it.

Critics I don't understand. They get too intellectual. They're not very well-versed in street talk; it takes them longer to say it. So they have to do it in dictionaries and they take longer to say it.

It's much easier for me to say that, the kind of music I didn't listen to was pretty much that. I mean everything, from jazz to classical to popular. And Tibetan horns were a great part of it in 1966, '67.

I would like to believe that people knew what they were fighting for and why they wanted a revolution, and exactly what it was within that they didn't like.