I deal in emotions. It's the harmonic side that's important. That's the side I expected to be much further along on than I am now. That just means to say that I've got to keep at it.

Led Zeppelin didn't get that kind of Beatles screaming. We had a more sort of macho crowd. But I remember once in the early days of The Yardbirds, we were playing on an ice rink, and the stage was mobbed by screaming girls. I had my clothes torn off me. That's a really uncomfortable experience, let me tell you.

I think it's time to travel, start gathering some real right-in-there experiences with street musicians around the world.

Seeing people's faces, really getting off on them, makes me incredibly happy. Genuinely.

I'm obsessed - not just interested, obsessed - with folk music, street music, the parallels between a country's street music and its so-called classical and intellectual music, the way certain scales have travelled right across the globe. All this ethnological and musical interaction fascinates me. Have you heard any trance music? That's the thing.

You absorb so much from whatever your environment is, as an artist, and you learn to take from it what can help you create.

There is far more sensitivity in acoustic guitar players than could ever be compared to any synthesizer. That's a personal point of view but that's the way I see it. I think that's what it's all about. The drive, the fire, the passion - it all comes out on the guitar.