I'm wary of the word glam because I think that became the all-inclusive term with for any bloke with lipstick on, which is fine, you know, and that's what it is when it comes down to the public level.

My work is really the accumulation of these different moods that I've had throughout my life and where they've taken me. I start looking back, and I think, I've actually created a life out of all this, out of these changes of mood. They've pushed me through all these years, and I seem to have a semblance of a life, and if I look very carefully, I can see some thematic design to it. There's some continuity.

Of course, we found out later Syd Barrett had mental problems. But there was something so otherworldly about him. He was hovering, like, six inches above the ground.

Actually, my ambition at eight or nine years old was to be one of Little Richard's sax players, and that's when I got my first saxophone, a Selmer. It was a strange Bakelite material - that creamy plastic with all the gold keys on it. I had to get a job as a butcher's delivery boy to start paying for it.

Hitler was the first superstar.

If I wasn't going through a thing where I was also being my characters offstage, uh, I'm much happier just wearing the most low-profile things that I can come up with just so I can get down the street.

I don't think I did anything that my contemporaries didn't; it was just that I was the only one who talked about it. In the Sixties anyone who had a sense of style seemed to be gay. I wanted to indentify with that.