Leonard Cohen can give you "Leonard Cohen" - the self-deprecating wit, the slow, considered speech, the perfectly-honed anecdote - Tom Waits is far more comfortable giving a journalist "Tom Waits" the character, whose conversation is really a series of strange tales, learned or ad-libbed.

A French friend brought over a load of Gainsbourg vinyl and I worked my way through it: by the time I got to L'Histoire De Melody Nelson (1969) I was thinking, 'How can this man have died before I got to know his music?' I was a convert.

Everybody was in tears. You turned on the radio or the television, and it was nothing but Gainsbourg. With typical British music journalist disdain, I just figured it was a testament to how poor French pop was if there was this much fuss about a guy who had one hit record, 'Je T'Aime (Moi Non Plus)'.

I'm not trying to ally myself with the rock stars of the universe.

The difference between fiction and journalism is that you can disguise the characters, so you won't get your legs broken, and there's no interview tapes to transcribe.

Even though it felt completely natural - strangely enough - recording an album, I was very shy about making it public.

Not so much that I wanted to give up rock writing, but I also wanted to try something new. So I moved to a crumbling stately heap on top of a hill in the middle of nowhere in southwest France, about 60 miles from Bordeaux: wine instead of cocaine.