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.

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

I don't mean I give the same intensity to everything I do - if I did that, I'd be dead, but I'm very conscious, I make notes, and I have a fairly good idea of what's happening in my life.

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.

People don't have to put you in a box. You can have the confidence to move across, and combine and learn from each different practice. They inform each other.

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.