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.

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

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.

I guess we all had that work ethic. None of us were rock stars, so if you had time in a studio, it was a big, big deal: you're not going to sit around taking drugs and drinking and waste it, you'll do something.

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.