"I was listening to this a lot when Supergrass were making Diamond Hoo Ha over in Berlin. This was the record of that album for me and I was listening to it over and over again. I love the rawness and the vocal performances. When I first heard it, it was unlike anything I'd ever heard before. It was different and I love Tom Verlaine's vocal quality; it's really androgynous and like the male Patti Smith. It had that delivery and I love it. I've never been drawn into the alternate tunings that they used and so I've never delved into that. I'm probably not enough of a nerd about other people's music to do that. But their playing is never pompous or self-indulgent. It wasn't guitar duelling but Television are very sensitive to their instruments. Everything had its place but I think I was drawn to it because of the band I was in. This was what we aspired to in terms of Mick [Quinn] being a brilliant bass player so we let him speak with what he was doing. And you couldn't tread over Danny because he had these amazing bass fills and we had that internal dialogue where everybody got to speak. The best bands are the ones that connect that way and are really on fire when there's that understanding between each other."

"When I was about 15, Danny and Mick [Quinn, Supergrass bassist] lived in this row of cottages that was literally 10 metres from my family house. That was our base; we’d get together in Mick’s living room. I feel very lucky to have been in a band at that time because we were still approaching music – playing live, writing and recording – the way they had since the beginning; it was the last little window where there was only two-inch tape recording, just a few A&R men around who would come to gigs and stuff, no internet, mobile phones. It seems weird now! We were in the house getting stoned and playing loads of records, everything from Pink Floyd to Gong, Muppets albums, Zappa and Patti Smith. A big one for us was Brian Eno’s Here Come The Warm Jets – it was one we were really hooked on. For somebody so experimental he had killer melodies and the way he double-tracked his voice is just really cool. The production and instrumentation are kind of understated and hint at lo-fi, but in an honest way. We had a meeting with him in New York in the early 00s about producing us. I don’t think it was anything creative that was the issue, it was a boring calendar thing from what I remember, but it was great to meet him and have a chat."