I wanted to capture the excitement of house music, almost like a four-four beat, and the best way to do that was to use a language that was rhythmic and performative.

There's no one way of telling a story or looking at reality, so I think any device is up for grabs as long as it fits in with the tone.

I think there is a natural thing that you feel when you've written something taboo because you just don't want to expose the people you're close to.

I can't stand still; I find it very difficult to sit around and do nothing. I've got to have projects on the go because the devil makes work for idle hands. I've got to be going forward all the time.

I grew up in a place where everybody was a storyteller, but nobody wrote. It was that kind of Celtic, storytelling tradition: everybody would have a story at the pub or at parties, even at the clubs and raves.

It was around the summer of 1982 when the drug problem really impacted. It became a lifestyle rather than a recreation. When you start lying and stealing, you cannot con yourself you're in control any more.

We have to accept that capitalism is coming to an end. We can't provide paid employment for people, all the industries with technology are counter-intuitive to profit, and we have to have a transition to the conceptualist society. The only way to do it fairly is as a social democracy, a radical social democracy, which isn't compromised by neo-liberalism and isn't compromised by the rich, and isn't compromised by hegemonic, authoritarian interests: to have that balance between the government, the private sector, and then the individual citizens again.