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

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 was at a time of my life of making choices, I suppose: am I a writer, am I a visual artist? And when I was a teenager. I thought I would be a film-maker. Am I a musician? If so, what kind of musician am I?

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 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'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.

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.