I'm playing to the sort of people who like the same records.

And after, you know, having the old chicken or whatever it is they bring around and a couple of cocktails, you turn to the person sitting next to you and say, you know, you going home, then?

London was a real dump in the 70s, when it belonged to me and my friends, because, like most cities, you kind of hand them off. You're in charge for a bit and then you don't go out anymore. You say, "Oh god, it's going to be too crowded."

I'm very fussy about how my records sound, but I'm very aware that because of the way they sound, I will never be a big-selling, mainstream artist because the public has gotten conditioned to hearing pop music in a certain way. And I don't do it that way.

As soon as one of my records goes on, it makes a vast portion of the public nervous. They get spooked by it. To some people who have ears to hear, it's a delightful, refreshing change. But to most of the public, it's a load of homemade-sounding nonsense.

"I Wish It Could Be Christmas Every Day," which I actually recorded on "Quality Street" because I don't think anyone has ever covered it before. You hear it every single Christmas, and it is a great record. That's by Wizzard. It is a really great record, but I don't think anyone's ever covered it before, so I had to go it doing it differently. It's quite different from how the original goes.

I'm very interested in religion and different religions, and I know quite a lot about it. I love gospel music, and I love going to churches, but the one drawback is that I don't actually believe in God. And it is quite a handicap, you know.