"I wasn't sure if I should put this song in, I was wondering if I should make weirder choices but then I was just like "fuck it!" It's one of the best songs ever, I go back to it again and again and again, and it always feels so good. There's something so satisfying about it – the way the chords change and the meaning of the lyrics. Isn't it about the Kinks' manager hooking up with a girl who was actually a guy dressed as a girl? It's such a cool thing to write a song about, but it's really subtle. Unless you listen carefully, you don't really notice that that's what it's about. I love songs that have a secret meaning. It's so simple, but so satisfying. It's also a very beautifully written song with the way the melodies go and the way the key changes. But because it's the Kinks it has this really cool ugly, rough sound that makes it feel so much cooler. The best songs are the ones that are beautifully written, but recorded in a dirty way. I'm always looking for ways to make our songs more interesting. If you just play all the chords and everything is perfectly in tune and in time, the music is whitewashed and comes out as a straight line. It's boring. Soph and I are always faffing around with guitar parts and trying to find ways to make them less in tune, or less pretty. You can have the most basic song, but if you cover it in stuff that's a little bit discordant or a little bit weird it makes it all so much more interesting. I couldn't really say when I first heard ‘Lola’. It's one of those ones where you're just born and you know it. I didn't go and buy it in a second-hand shop or anything like that. I don't know where that came from, I don't even know when that started but I've got a few Kinks records and I really love them. I got a big record dump from one of my best friend's dads when I was a teenager. He's been really influential actually, he gave me so much music. My music collection was just there suddenly, a big stack. There was loads of Motown stuff like Smokey Robinson, The Temptations, The Supremes and Marvin Gaye. He used to be a Northern Soul DJ in Yorkshire or somewhere and he's just a cool dude – maybe I first heard the Kinks because of him."

"The ‘60s things we’ve discussed were a really big influence on me - it almost seemed like an early dream - but then I got into the Bowie, glam rock thing, which was my first choice of things in a way. That led me into New York punk rock and that’s the bit that made me pick up the guitar. I’d played the guitar a bit, but along with Television, Talking Heads made me want to be in a band and that whole scene inspired me much more than English punk rock. That time very much felt like a new chapter - ‘out with the old, and in with the new’ - and I guess that’s what punk rock was, but I thought a lot of the English punk bands were a bit crap. There were a few good ones and a lot of people talk about The Clash and The Pistols, but for me it was Patti Smith, Talking Heads, Blondie, MC5, New York Dolls and Iggy Pop. I loved all that stuff and it somehow seemed to fit with glam rock, with Bowie, Roxy Music and Marc Bolan and led me into Talking Heads and that whole thing. When I was an unemployed kid I’d get the bus into town, wander around and meet loads of people who wanted to form bands. There weren’t many people into The Velvet Underground back then, which I was at the time and I was a bit of a misfit in many ways. Matthew Street in Liverpool was a run-down area of empty warehouses then and there was nothing much there, but I met a lot of likeminded people around a warehouse called The Liverpool School of Music, Dream, Art and Pun and that was where I first met a lot of the guys who ended up in my first band. Opposite to that there was a record shop called Probe, a tea rooms and a club called Eric’s, and they became the centre of my everyday existence. Eric’s was set up by a guy called Roger Eagle who had been in Manchester. He was a Northern Soul DJ and a music aficionado and was heavily involved in the scene. Although those bands weren’t mainstream at that point, I got to see them all at Eric’s, which was brilliant. We got let into the gigs for free in return for helping them to carry amps and I got to chat to all of the bands that I loved at the time. As a song, “Psycho Killer” really stood out. It was very compelling and there was the whole idea of how David Byrne looked like he was a college professor or something, he was so awkward and gangly, but he had brilliant words. I remember thinking at the time ‘He’s not singing about the usual things, how are these words in a song? How do you do this?!’"