I try to have an open ear, but at the end, it would never change direction to where I think I should go. Because if I listened to everybody else, they're thinking about what's right now or what was the last thing - they're not thinking about what's next.

When I got into the Beatles, I must have only been about six or seven but old enough to take notice. We used to have an old radiogram which, for readers of a certain age, was like a big cabinet thing with a record player inside it.

I'd like to think that what I've written over the years and what I'm doing now means something to people. People in the street all the time are saying "love the new record" or "I love that record," this tune or that tune. It means an awful lot, or it's been a big part of their lives. As a songwriter, what else would you really want? You're trying to connect with people, people's emotions, and maybe say something about their lives or feelings. That's probably a good enough compliment to receive, really.

There's such a wealth of great music, clothes or whatever. There is so much great stuff out there, that why would you not still be interested if you've grown up in that kind of culture?

People say that if you're still angry at 52, you're not an angry young man, just a grumpy old git.

Sometimes you're ahead of the game and sometimes people don't get it and that's just one of those things you have to accept and carry on.

For me, there's always an early-'70s sense. There's always a sprinkle of it - if I do it exactly like that, sometimes it becomes too costume-y or too thought out. But the influences are there, without a doubt, always, because to me, that was the part that I also felt was the most defining of my own personality and my own style, and I also think that it's timeless. You never look wrong.