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 needed a huge amount of energy to cope with my life. I had a huge amount of energy where stuff was concerned: it was as if all this unconscious material had been unleashed.

I remember I did quite a lot of interviews when the book and the CD came out, and I did a drivetime interview for Radio London or something. You wouldn't immediately associate the music on Ocean Of Sound with drivetime radio, but people found things that they liked, and the DJ was playing some records at 5 o'clock in the afternoon on a weekday.The man who was playing them said to me, "That Peter Brotzmann track, it's like having your head boiled in acid."

We [with David Cunningham] did do Top Of The Pops. It was an eye-opener. I mean, one of the things that was so interesting - I've talked about this a few times recently, and people can't believe it - they used to do this thing called tape switch with the Musicians Union.

There's a sense of trajectories that are extraordinary about a life like this. You can reconnect with people and go back to playing with them after years and years of not even knowing if they're alive.

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.

Dub music is like a long echo delay, looping through time...turning the rational musical order into an ocean of sensation.