"This was another sonic influence on the record - the saxophone, the guitar. If you’re painting a picture it’s like 'What colours do you want?' Every instrument is a colour and with this we’re only using a few different colours. It's in how it sounds and how it feels to listen to, it's not necessarily about the actual instruments, it's about what it visually feels like. “Yoko’s record was produced by Phil Spector and on Oh My God the subject matter is a little absurd and it's fun to be sort of playful with it. Back to the cinematic thing, it exists in this big, bombastic universe and mimics the Phil Spector sound. “I just read the Jeff Tweedy book and I really related to him saying that basically his whole life and everything he does is essentially influenced by two different records. One's a record of just train sounds like cabooses, it's not music, it's just train sounds. The other one, I forgot, I think it's Johnny Cash or something. ""Yoko used the heartbeat of her unborn baby on a song she made with John Lennon and I really relate to that; I'm really into the atmosphere of songs and how everything in the world can be its own music. I saw a quote from Neko Case recently where she said 'When you're an artist and work for yourself, your job never ends!"

"I saw the New York Dolls support Rod Stewart when he was in The Faces. That was at Wembley Empire Pool. It was the Dolls, the Pink Fairies and the Faces. I was there to see the Faces, and when the Dolls came on you've never seen a room empty so fast. Everybody just headed for the bar. David Johansen had a top hat on and Arthur Kane had some pink patent thigh-length boots and was being propped up at the back. They did a 15-minute version of 'Frankenstein', and that was good enough for me. I hadn't seen anything like it before. I gather Steve Jones was there as well – a few people were there who would go on to form groups. They were these five tough New York kids and dressed like that, it was so provocative, so over the top. They went on The Old Grey Whistle Test and Whisperin' Bob Harris said, ""I want nothing to do with this lot behind me."" I lived in Chelsea in this flat with an American writer and I woke up in the middle of the night once and went in his room and Johnny Thunders was there. He asked me if I had a guitar and showed me a few chords. He was quite a nice bloke. That was when I was first starting out, in '77. He'd been over with the Heartbreakers doing the Anarchy tour with the Pistols. But to wake up and see him sitting there was bizarre. He'd had his hair cut by then. He always looked really smart. I loved the whole look of the New York Dolls. They had a real influence on me. They looked good wearing make-up, but there was no doubt that they were blokes. It was like, ""Come on then, come and do something about it!"" To walk around like that in the 1970s anywhere in America you were risking your life. Tracks like 'Personality Crisis' – I think Malcolm [McLaren] lifted that wholesale for the Pistols, the rhythm section and the guitar sound, the heaviness, the weight of the rock & roll sound they made. That was a big influence on Malcolm. What you saw was what you got with the Dolls. I last saw Johnny Thunders at Dingwalls in Camden. I bought him a brandy. He was sitting there scowling. He was quite a dangerous person. When I was with him once, some girl came up to bug him or say something and he did that thing like in that James Cagney film – he just put his hand on her and pushed her away. He was a real tough nut. A real rotter."

"I’ve always had a soft spot for those artists that came out of the sort of psych-folk scene in Canterbury in the late ‘60s, but of all those performers Kevin Ayers is probably my favourite. “‘Lady Rachel’ has a real Englishness about it, which is kind of alien and almost exotic to me, because it’s a place I don’t really know much about; I never lived there. There’s something so far removed about the way he sings and pronounces words, like he’s from some far-off land. It feels like it’s come from the world of King Arthur and Alice in Wonderland and maybe a little bit of Mary Shelley or something. It’s a little bit Victorian and again, the themes are dark - it suggests death in the water. I liked that section of the ‘60s, where the psychedelic stuff was becoming a little bit more playful and wacky. “I don’t know about you, but sometimes I get really obsessed with songs and hunt down every version I can find of it. With ‘Lady Rachel’ I always felt like no one take of the song completely captured everything that was good about it; instead, each version captures one element of what I loved about it. The one that ended up on the album, Joy of a Toy, is really full and rich and very produced, but it’s played too fast and it loses a bit of the suspense - that glittery other-worldliness that gets lost in the speed of the performance. “There’s an amazing rendition of it that he did on The John Peel Show in 1973. Again, it’s a really beautiful version but there’s just this one line where he kind of steps out of character - he says “at least not very much!” in this kind of dorky, jokey voice and it undermines the mood of the rest of the song. It’s like going to see a play, getting to a critical moment and then the lead actor turns to the audience and says, ‘Hey, everyone - I’m actually just an actor.’ I’m always going, “Oh, man! Why did you do that?” Anyway, what the fuck am I doing, chasing perfection in music"