"Magazine were also one of my favourite bands and that they came from the same city as me was a marvel. It didn't make any difference to what I thought of their music, but it was definitely a bonus. As a teenager I was very critical at the state of guitar playing and the usual cliché-ridden approach that was either blues rock or prog rock. It didn't mean anything to my generation. In John McGeoch, Magazine had a guitar player who was modern and relevant and interesting, while Howard Devoto was, and still is, one of my favourite ever lyricists. There is a thought that the first couple of records for many bands are the ones that are considered seminal. As is the case with Wire, I think that when bands break away from their first seminal albums - in Magazine's case that was Real Life and Secondhand Daylight - and they take somewhat of a left turn, it is really interesting. On The Correct Use Of Soap, Magazine did something original and almost ahead of themselves. There is a lot of space on The Correct Use Of Soap and I think it is better than the first two records. The space means that John McGeoch can really stretch out. Songs like 'Philadelphia' and 'Because You're Frightened' are based on guitar-playing that is utterly unique. It is one of those records that you can say that if it came out now, it would still not only be fresh but ahead of the race."

"I could have chosen I, II, III, IV, Houses Of The Holy or Physical Graffiti. Not totally sure why I chose this one, but it starts with ‘The Song Remains The Same’ and ends with ‘The Ocean’, so it almost doesn’t matter what’s in the middle! With those bookends, it was always going to be a classic. But of course there are things I like in the middle, or else it would be a shit sandwich. Every time I get on guitar I play ‘Over The Hills And Far Away’. I’m not a fan of ‘The Crunge’. ‘Dancing Days’ is like an early version of ‘Kashmir’ and the album’s got some reggae on there. ‘No Quarter’ is a great thing to wake up in the morning to because it sort of builds and builds and builds and then sort of scares you out of bed. And ‘The Ocean’ is what I always play on the drum kit - I think if anything Led Zeppelin is defining what rock drums are supposed to be. And Jimmy is a god – a golden god! And hands down my favourite guitar player of all time. I could just turn off the sound and watch his fingers I’m that obsessed. He never seems to play the same thing twice when you’re looking at live footage. He’s always raucous and doing battle with his guitar, instead of just commanding it. I like to watch people that don’t have amps that do the work for them."

"It may seem like a change of tack, but it’s not actually. This is his most processed album. This is what I’m a fan of John Martyn for and something I don’t think anyone else has ever done before. It’s that sort of processed acoustic guitar that features a lot on my solo record, where the guitars are so heavily processed. John did this brilliantly. I saw him tour this album – it was one of the first gigs I ever saw as a youngster. It was astonishing hearing him making these beautiful soundscapes on a battered old Martin guitar through a delay line and a fuzz box. Not only was he a master of the guitar, he was also a master of processed sound. He used the voice in the way, again, that was like a tone generator. The words were barely audible but they made tones, in the way that Miles Davis might play his horn. Sometimes he’d sing in a completely different key. It was all about where he positioned the sound and the timbre. I don’t think he ever released another record that explored the acoustic process in the way that he did here. I know people that worked with him and had his effects pedals – I tried to get hold of them for this project (Edgeland) but they were long gone. It was a reference point for me for this album. I wanted to take that concept on, and Inside Out was my jumping off point."