"The whole New York thing was kind of like the Bowie outer space thing – you’d see it on films. And when I first went out to New York I thought how right the music was for the place. It was the antithesis of the California thing. I bought a Velvets compilation with ‘I'm Waiting For The Man’ on, and every title fascinated me. When I got Banana everything about it was cool, a different kind of cool to Bowie, just this disrespective, narky cunt, with the greatest rock & roll band in the history of time. Technically it doesn’t matter, the chemistry between them was incredible. Every rhythm guitar part I’ve ever played I’ve just nicked from Lou Reed, even some of the punkier stuff. There were all these punky little rhythms. Not as important as Bowie in what he decided to do, but up there because it was a band with a definite front man. When I met the right people later in life I would use the Velvets model."

"I didn’t play on that one either, and also heard it for the first time while listening to the radio. It just has an indescribable feel about it that involves a lot of yucky things from life. You can watch a movie and it will have horrible bits in it, but it will have nice bits in it too, and if you didn’t get through the horrible part of the movie, then the nice bits wouldn’t be as nice. That was one of those songs like that, where it was nice, but it was horrible as well. For me anyway! I could include more from his career later on that I really liked, of course, but certain ones just hit me as a normal member of the public, so I wasn’t going: “Oh this is a Bowie song, I better hear it,” I just heard it and it caught my attention. That just happens sometime, when something is playing in the background and then it just grabs you, while you might be doing something else."