"The ‘60s was such a powerful decade for music, but in the ‘70s it suddenly felt really old to me. If you’d have asked me about The Beach Boys and The Beatles at that point, I’d have called it a load of old tosh. I was looking for my thing and the new thing, and Bowie led me into The Velvet Underground, which led me into glam rock and the New York punk scene. I remember first seeing ‘Starman’ on Top Of The Pops and I’d never seen anyone who looked like David Bowie did - it was all sparkly and mad hair, but the song sounded amazing. The message of there being something out there for you really hit home with a lot of people who were my age, and it came at a time when everyone was searching for something that our generation could call music. Bowie had his moments as an artist, didn’t he? It’s a controversial thing to say, but I think Ziggy Stardust and Hunky Dory were the only great albums he did really. He had fantastic tracks from other albums - I love “Heroes” and I love “Ashes To Ashes”, they’re brilliant songs - but in terms of albums, it’s Ziggy Stardust and Hunky Dory that mean a lot to me.”"

"Me and James were obsessed with the NME ‘100 Best Albums Of All Time’ in the mid 80s, so we started buying as many as we could - Marquee Moon, Blonde On Blonde, The Clash... some of them we had anyway, but then there were things like Pet Sounds, which was really high, and when you’re 14 you think of the Beach Boys as fucking idiots going “doo wop”, don’t you? We both got What’s Going On and I think it’s the first time I realised, in an exotic way, that politics could translate. Through colour, through country - you could still feel the desperation of someone else even though it was your first exposure to music like that. Obviously my Mum and Dad had tons of records, but the intimacy of playing that in your bedroom and being transported to another world of the same anger you were feeling, but then in such a graceful way. ‘Inner City Blues’, the title track, ‘Mercy Mercy Me (The Ecology)’. There’s lot’s of brackets - lot’s of songs with brackets. I love that idea of brackets. I love the cover. You can still put it on today, and obviously in the studio we have lots of vinyl and a record player - you put that one in particular and it drifts, it seduces you but it also stimulates."

"It's got to be Trans-Europe Express really. I was aware of Autobahn and that was like The Beach Boys from outer space, engineered by Conny Plank - that was what they called it in those days, it was a blur between engineering and producing. I think Trans-Europe Express consolidated that futuristic thing, and of course it had a namecheck for David Bowie and Iggy Pop in there, which was an endorsement in some way. Although they were German, they were aware of 'our world'. I think the only other German thing I'd heard of before that were Faust, and the reason I know about them was they brought an album out [The Faust Tapes] and it cost about 15p or something, so everyone bought it. 'The Hall Of Mirrors' is really dark! The album's quite song-y as well. With The Man-Machine, it had the perfect record cover, it was the whole red-ness. Futuristic art deco with a slight Hitler Youth edge to it, a sinister edge. I went down to London one time, down the King's Road - I think it was the week of release - and every single shop was playing it. However Man-Machine is everybody's album, whereas Trans-Europe Express is a more private album, which wasn't as widely known. I hadn't taken any drugs at the time, but it affected me. That line, ""Even the greatest stars dislike themselves in the looking glass"", it was all just very atmospheric."