I didn't really get London until I read Dickens. Then I was charmed to death by it.

I'd hear some beautiful Sade or Kings Of Convenience ballad remixed in a club and I liked that these simple little songs seemed to be masquerading. They had put on superhero costumes, got all beefy, and here they were on the dancefloor. I was interested in that. I can't make electronic beats, so I leave it to the pros like Boys Noize and Chromeo.

There are certain parts of chords that resolve things and tie a bow, and others that keep things open and unanswered.

But that constant adjustment and adaptation to your new environment, all the variables are the same. There's always a promoter, there's always a rider, there's always a shower, and there's always a stage.

You can get anywhere on earth by falling asleep.

When I stopped touring, it was like trying to stop a bullet train or a giant lead ball falling from a 100 stories up - it's momentum and it doesn't just stop. I drew a line in the calendar and made it a brick wall and just stopped dead. There was no other way. It would've taken another 100 years to slow down slowly. I had to let myself imagine a calendar with no lines; when every single day is being predetermined six months in advance, there's no more fluidity to time.

I had a guitar leaning against the wall and I'd squint at it. It was almost like a dog that had been kicked - I didn't think I had anything to offer it.