"Iggy reminds me a lot of me. And it's all in that name; it's all in the title of that album. It’s raw power, you know? I like the funk that David Bowie was able to get behind Iggy. Believe it or not, I first saw an image of Iggy Pop at church, and they were talking about secret messages and backward masking - and they had [a picture of] Iggy Pop looking crazy. I didn't get into it until later, but I think how I was introduced to it was 'I Wanna Be Your Dog'. And what I like about Iggy is it's just genuine raunch. And the album seems like it’s all done in one take. 'Let's do that one, leave it, just try something else'. With his energy on stage, it seems as if the studio was just destroyed after that album - or at least you'd like to believe that. I just read an interview with him in which he said he wrote a lot of it in Hyde Park sitting under a tree wearing pyjama's too, which gave it a cool twist as well. I just love 'Search And Destroy' and 'I Need Somebody' as well."

"I always regretted that the Spiders didn't do that one as a single, Bowie and the Spiders. Because when he had written it, we did hear it and we did a version of it just to try it out, and you could hear that there was a real potential for it to be a big hit single. And we didn't treat it like that, we just treated it as another song we needed to get a version down on record. Then he gave it to Mott The Hoople and it went absolutely huge! It turned out to be kind of like an anthem of the 1970s, really. An amazing song, another one of my favorites. It was one of those songs you hear, and you just know immediately: that's a hit. Some you might hear and think it could be a hit if it was treated right, or it could be a minor hit, but with that one it was: no, this is a major hit. He wrote it for Mott The Hoople, really, they were on the edge of splitting up and it wasn't going well, and they needed to be pulled out of it with a hit – so David, as he did, just went: 'Okay, I'll write one.'"

"I’ll just drop The Weeknd House of Balloons, which I call black Portishead. [Laughs] It’s like, ‘Who is this dude? This can’t be a real person, right?’ That echo just seems like it was recorded—or wasn’t recorded—in some black hole and it was a sound just coming out and it just sucked you in. I could listen to that album 200 million times over and it still sounds fresh every time. “To me, the lyrical content—I don’t know how much it means to him, as far as personally. But, I’m a guy that listens to David Bowie who was like, “Yo, your mom doesn’t know if you are a boy or a girl.” Just saying stuff—shocking, but I don’t know if it’s for shock’s sake. I’m sure he is not trying to do that. But it doesn’t sway me from the music. ‘Yeah, come over, I’ll get you real high and I’ll fuck you and maybe never call you again.’ To me, he is telling a story and we have all seen the movie Seven. That doesn’t mean he beat him and barbed-wired his ankle to a chair and his whole stomach explodes. But it’s fascinating"

"I wanted to mention this record because it’s almost taken for granted in David Bowie’s canon as just ‘there’s another great Bowie track’, yet it gets overlooked by something like ‘Let’s Dance’ or ‘Heroes.’ “If this came out now I don’t think it’d have any chance on mainstream radio and I think that’s because - and this might be incredibly subjective - he does this amazing thing where he manages to be completely remote whilst leading this band. It’s a really genius performance, the way he pitches his vocal and his persona, it’s cold and remote, but yet really sexy and it’s got no earnestness in it whatsoever. It’s not inciting you to get up and rock like ‘Jailhouse Rock’ or any of the Elvis Presley records, which is someone wanting to dance with you or encouraging you to do that. “To use an obvious comparison about Bowie, this has a really alien position because the voice is so cold, but it’s perfectly Rock and Roll. And it’s really white I think, probably because I can picture him in my mind when it came out and you’d never seen anyone more white, but it’s also as low down and Rock and Roll as any of the blues records that came out. It’s interesting, it’s got that sexuality in it. “I was about ten when it was released and to me and a bunch of kids experiencing it then it was so modern, because of what Bowie’s doing on top of what is essentially a Yardbirds or a Muddy Waters riff and using ‘The Jean Genie’, which back then was such a hip kind of slang. It’s a play on Jean Genet and he’s describing bits he’d picked up from Iggy, but in the early 70s’ everything was ‘Ziggy’, ‘Iggy’, ‘Genie’ and people were called ‘Mick’ and ‘Stevie.’ “There was a very urban, street Rock and Roll that was quite illicit; the threat of drugs, danger, confused sexuality and super-androgyny and the character he’s singing about personifies that in the mind, which leads me to Iggy."