I’m not that interested in what people make of it, or how people consider me. That’s nothing to do with me.

One of those things that I find hard to dispose of is my attitude to album sequencing, the layout of the pieces.

If it's a language you don't understand and you're not concerned with the meanings of the words, your impression comes from how the words look, particularly if the language uses different characters.

I have a rough idea when I walk into a studio though.

My father had a phase of having jukeboxes all over the house. He was a music lover but he was also into musical machinery. Not instruments, he was never interested in playing particularly but there would be these odd objects, like valve amplifiers being dismantled on the kitchen table. My mum wasn't massively keen on that, but it was part of the environment.

My plan is if you come to the shows in the first run of dates the versions you'll hear live are quite close to the record. But because I can set this up identically afterwards in a hotel room I can actually work when I'm on the move. The aim is that all the pieces will have had substantial remixes and different parts added and subtracted.

What happens in the studio is technically the same thing that happens on the stage. In the past I had to make quite brutal adaptations of the material to make it work on stage. I don't always like doing that because sometimes you're shaving away the things that you actually quite like about them, the spontaneity of it.