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 been listening to African-American music since the first record I ever bought, which was by Sam Cooke. And it sounds more like my private thoughts that I never thought I would be able to articulate - I never thought I would be able to express publicly.

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.

I was associated with the Artist Placement Group in the early 1970s and David Hall, the video artist, was an Artist Placement Group artist. I was completely broke at that time, and he said to me, "Come and do some teaching" - he was head of department at Maidstone College of Art. And I went and did a couple of teaching days and practically the only person who showed up was David Cunningham [Flying Lizard's main man], with all of this finished work

If I'd thought, "I can't really play this instrument," I wouldn't have done it! But I didn't care, you know. I didn't care!

I do still have dips of confidence or [can think] everything I do is rubbish.

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