One of the things about grief - I wouldn't generalise, because everybody responds to tragedies in different ways - but I had a huge amount of energy.

I had the idea to do an anthology about instrument-making.

I think I was like [a game of] skittles, knocked apart by this wooden ball, and there's a strength to that: you're not too self-conscious about what you're doing, so you're not too worried about it.

Sound: always in a state of emergence or decay

At that time, 73 and 74, I became aware that there were a number of us making instruments. Max Eastley was a good friend and he was making instruments, Paul Burwell and I were making instruments, Evan Parker was making instruments, and we knew Hugh Davies, who was a real pioneer of these amplified instruments.

One of the things about grief - I wouldn't generalise, because everybody responds to tragedies in different ways - but I had a huge amount of energy.

I'd entirely forgotten about Pass The Distance, and then I went to Japan in 2000, and was asked to do interviews with all these journalists, who were showing up with bootlegs of this record, asking me to talk about it. I was astonished. It kind of gained momentum.