"This was a record I got in my youth; I was really, really young. My sister had previously turned me on to a lot of different music but this was the beginning of my own branching out. I was starting to get my own identity. I had gotten a few weird records of my own and one of them was KISS's Hotter Than Hell and this one came shortly afterwards. What a lot of people missed with Bowie was that he really knew how to jam on an acoustic. They were great pop rock songs but were mostly played on an acoustic. Of course he had a great lead guitar player in Mick Ronson and when you can mix that up with acoustic playing, then you've got something really cool. I have learned some of his songs and it may not be that the chord progressions are unusual, as some people say, but it's the exotic chord choices that make the music weird. Some of those chords always make me think of a dog when he turns his head sideways and looks at you as if to say, ""Are you going to eat that?"

"When you inevitably are asked about your favourite record, you can scratch your head and go through a list, because your taste changes from year-to-year or through different periods of your life. However, I have always been able to say that Raw Power is my favourite from the moment I first heard it, and I don't think it has been equalled since. A couple of friends recommended it to me. At the age of 14, I was starting to play guitar in a certain way and the name [of Stooges' guitarist] James Williamson kept cropping up. A couple of guys I knew assumed I had been listening to Raw Power because of the way I was playing riffs. So I thought I had better investigate. I knew all about Iggy and The Stooges but I wasn't aware of Raw Power. I got the album in about 1976. I had heard so much about it that eventually I want into town to buy it and I picked up a copy for about three quid, which was all I had. The cover alone made me want to buy the record, and, when I heard it, I realised why my mates had been saying what they had. In particular, the song 'Gimme Danger' started off with a riff that was very much like one I was playing with the band I was in at the time. As a guitarist, James Williamson's playing struck me as having the technique of Jimmy Page but with the irreverence and attitude of Keith Richards. I have since become friends with James and have talked to him about what he was doing back then. He knew exactly what he was doing and it was very deliberate, which is always quite impressive. There is a lot more I could say about Raw Power. It gave me a path to follow as a guitar player. It was an opening into a world of rock & roll, sleaze, sexuality, drugs, violence and danger. That's a hard combination to beat."

"Well, what can I say? This is a hugely exciting record. Aphex Twin has got a huge reputation, obviously. When I was 16 it was one of the things which I had on MiniDisc, which we all had back in those days! I would just listen to it continuously. It was just around the time I was starting to make electronic music on my own, and I remember thinking, how can you make this? The technology I had and the software I had was absolutely shit, and I remember fiddling with it and thinking that I couldn't figure out how to make these drum beats so complex, and so delicately put together. Every five seconds or couple of bars something new happens. There's none of this copy and paste which all dance music at the time was doing, thinking in particular of that kind of Ibiza dirge that was shit and was on the radio 24/7. You just get 15 bars of the same thing, then one change, whereas Aphex Twin was the exact opposite of that. He would just keep your interest piqued the whole time, and that's one thing which I have always strived to do with the band, just to stop things being boring. Perhaps we push it too far, but I think all the 'inciness' and the whole thing about not letting it rest and be copied and pasted, I think is in my music as well. The other thing about that record is that it's not really a dance record at all, it's just music. I mean you can dance to it if you want, but there's lots of classical stuff on there really. There are lots of quiet moments, and lots of awkward stuff that is not really dance music."