One of the nicest things is that I still get, very ambiguously, people saying to me, "Oh, I'm just reading your book." And I say, "Which one, for God's sake, I've done six now!" "Oceans of Sound".

Every time when it comes to writing a book, I think, "I'm the last person in the world that should be doing this, I don't know anything, I can't do this." And I went through years of that with Into The Maelstrom.

Paul [ Burwell] and I had also got interested in making books. We'd been working with Bob Cobbing, the sound poet, since the beginning of the 70s, and Bob had this press called Writers Forum.

Sound: always in a state of emergence or decay

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!

The Musicians Union declared you couldn't mime on Top Of The Pops, which is obviously impossible, if you've got a studio-based record that you'd worked on for a year or something. And there were a lot of terrible performances. Because on Top Of The Pops, you were just thrown onstage.

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