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.

I love Tom [Waits] for the same reason I love Leonard Cohen, which is that they are both one-offs, templates; they both seemed old, or at least dressed old when they were young; both kind of lived their careers backwards.

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.

I didn't want to live in LA again, although I'd go back every couple of months to do an interview, usually with a heavy rock or metal band. And as the decade went on, so much of that scene had become totally corrupted by too much coke and money and silicone.

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.

There's that old cliché which has a lot of basis in truth, that all music journalists are failed rock stars. They all harbour the inner feeling they should be up under the spotlight and the microphone is there for them.

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.