"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."

"Last summer we were playing some versions of Dark Side of the Moon that were more like our versions, that we did with my nephew [Star Death and White Dwarves] and Henry Rollins and Peaches. This summer we're playing another version that has some of the Wizard of Oz themes and ideas running through it, so that'll be a lot of fun. It's just great emotional music. Judy Garland, when they picked her to be the singer, and the embodiment of that longing... she's so perfect for that Dorothy character. There are bits on the Wizard of Oz soundtrack CD that I have - and it's an old CD, maybe 15, 20 years old - when you take the movie away and just hear her singing, and there's a song where she cries. I've put it on to a room full of people and they tear up, it's so real. There's not many pieces of music that can do that. She's so perfect, but it's not just the singing - she's an actor. She's on camera at the same time, she's wearing this ridiculous costume, there's fake backdrops behind her, there's a lot of elements that have gone into this thing, and so for her to be so pure, so potent: it's uncanny. That's why that movie is so good. There's a lot of fantastical, ridiculous, musical movies out there that, to me, are nauseating. Wizard of Oz should be one of those - out-dated, overdone, with horrible music – but it rises above what it's made of. It's unbelievable."

"Forever when I hear this song it moves me. I think it’s relatable to anyone really, whether they’re out there looking for themselves or someone else, or what’s after this life - I find it very moving. The Joshua Tree is my favourite U2 album - they just did an anniversary tour and I was heartbroken that I wasn’t able to go. “A few years ago I was filming in Toronto and I received an invite from Bono to see U2’s show. So I go along with my friend and I roll my eyes because the invite came through his PR and I thought, ‘Oh this invite isn’t actually from him, he doesn’t actually want me to come.’ But the show was just spiritual and magical - I was hypnotised. “The PR had also invited me to his after party, and again I was thinking, ‘is this really coming from him?’ I had to work the next day at 6am and it was already midnight, but I thought ‘you know what, this is a once in a lifetime experience.’ So we go, we wait for an hour and my friend tells me, ‘let’s just wait for 30 minutes more,’ And just then in strolls Bono - he walks over and sits with me and my friend for about three hours and we just chatted about everything - music, politics, family, spirituality. It was a really special experience. He’s always been a lead singer that I have looked up to and I had so much respect for him for doing that."