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

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

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 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.

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.

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.

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.