"Arthur Verocai is interesting. I think that this record came to it came to America at a certain time; a lot of the vinyl doesn't make it around the world from Brazil, and it makes them even more precious because it can be some grand work that may never have seen the light of day. I think this was one of those moments where somebody was like 'this album has to be heard', they pressed it up and made it a point to bring it over to America. The record sounds very much like I can understand what is happening and what is being said, even musically, something about it is bigger than the part where it's in Portuguese. I listened to it relentlessly, I would listen to it back to back to back for years. I still do listen to it that much, and every time I do it feels brand new. I think that this is something that inspired me throughout the years to make music the way that I make music. Arthur Verocai's pretty old now, but every once in a while he comes over to the States and does something special. I think he was brought over to the states for the first time a few years ago, and I was out of town and I'm so sad I missed it. I would have loved nothing more than to get a chance to see Arthur Verocai play live, but sometimes that's how life works."

"I hate saying this, but it did what it said on the sleeve! It was them two and it was a lot of drums. It was one of the first records I would listen to because a lot of jazz drumming is very difficult and complicated, if you listen to somebody like Buddy Rich you can't help but think how does he do that; what is he doing? How do you do that? It's very complex which always scared me off. Kenny Clare and Ronnie Stephenson had that same technical proficiency but they didn't use it the same way. They were much more in the mould of Gene Krupa. The parts that they'd play were very musical. I don't know if they were musical to people who weren't drummers, but to me it all made sense. Some of the stuff they did was almost melodic, like patterns on the toms and breaks, and then just trading off each other, which I thought was pretty cool because it was like hearing two people being inspired. Again that was something that really came in with The Damned, with Brian and me. It was almost like a competition sometimes: he would play something and then I would go okay, if you're going to do that then I'm going to do this. And I think that probably came to us from listening to these drum battles and taking on the mentality of that; feeding on what's going on around you, regardless of what it is."

"That's like a bookend thing really, because it's one of the latest records I bought, only two months ago. Side one is the best side, sometimes he gets a bit busy, but the first track starts so sparsely, it's incredible. I saw Terry Riley recently when I was playing at the Primavera Festival. Everybody ends up staying in the same hotel near the site and a lift door opened and I saw him and he went 'hello Jarvis', and that was a very proud moment because I've only met him once before. Mark Webber, who was the guitarist in Pulp, he knew Terry Riley a bit and we actually did a performance of 'In C' with him at the Barbican years and years ago, and he remembered me from that. I was really touched. I think it's a really romantic record - none of these records have to be for any purpose but I have to say if you want to get it on with someone, it's a good one to put on. When Mark first introduced me to minimalism I thought 'there's not much happening here', but it makes you listen to music in a different way, you're listening to the actual sound of it. That expands your mind. Persian Surgery Dervishes is using that weird tuning, with loads more notes, it's questioning the idea of the Western scale, saying we can find notes within the notes. It's a long way from pop music, it's exciting, it's good to know you can be enthralled by music in which not very much happens. 
"

"The Firm, which was a film that I got a chance to be in, and got a chance to work with Sydney [Pollack] and really rub shoulders with Gene Hackman for the first time. Well, actually, I had been with Gene in Mississippi Burning. But I got to work with Gene Hackman and Tom Cruise and Holly Hunter and Gary Busey and Wilford Brimley. But Sydney Pollack had a great career as a director and I always admired his approach to things. Jeanne Tripplehorn was in The Firm also, did a great job as Tom’s wife. I love the music in The Firm. Dave Grusin wrote the music. I thought the film was very well put together, and when you take a novel, sometimes the film doesn’t match up, and I thought The Firm did match up. I read the novel and was very impressed with the scary Nordic guy who was sort of shadowing Tom Cruise’s character throughout the novel. He was just scary. And then, I’d say it was a year or two years later that my agents got a call from Pollack. I think he knew my work from the Actor’s Studio in New York, because Sydney was always very involved with the studio, and I think he was also a fan of Mississippi Burning and had seen that film. That took its own wings, and he just offered the role of the Nordic, and I thought, “Wow, that’d be great.” So I got to go to Memphis, Tennessee, the home of rock ‘n’ roll."

"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."