"Patrick remind me of electro artiste of the 80s and early 90s but with a magical lyrical literary style all his own. This song just makes me what to hop around."

"There isn't really one definitive album in that series. We were completely addicted to those Electro albums when they first came out. One of us had one album and we used to trade them between the lot of us. I bought Electro 2 and I was a bit pissed off at the time, but it's one of my favourites now. Electro 5 has got some of the best tunes on it. And Crucial Electro has got 'Clear' by Cybertron, which is amazing. Jerry Calliste, Jr. is a genius I think. He was the man behind 'Al Naafiysh' and High-Fidelity Three's 'B Boys Breakdance'. That's one of my favourite tunes on Electro 5. 'Breaker's Revenge' [by Arthur Baker] is a killer. Beat Street – the film and the soundtrack – was huge for me. I was a terrible breakdancer. Embarrassingly bad. I had a couple of moves and I could barely do those, but I loved the culture of it. UK Electro was also a key record – I found out recently that it's all by one guy. It's perhaps easy to see this in retrospect, but there are lots of parallels between Detroit and Sheffield and Manchester. I can remember looking out at the cooling towers from my bedroom window. They were maybe two miles away. You could see a big urbanised bit to the side of it. It made the landscape magical listening to that music. I think this was probably what Kraftwerk were getting at originally. Talking about it now it seems obvious, but it adds magic to your own mundane landscape. You need that. That's what happened with Detroit techno. You've got this utterly bleak landscape and the only way to make it palatable is to lend it some kind of majesty. I think we were very lucky growing up when we did. We had lots of momentous moments. Things are very fractured now. Back then, everybody had an opinion on something like Star Wars – especially boys, well, men now. We all have this notion that we were privy to something amazing. It's very rare now that something is that omnipresent. The whole thing with the electro scene was that it was a bit left of centre. I got a lot of stick for it at school. I can see why, looking back now. It was such a huge thing. It pushed you in a certain direction. I've grown up a bit now, but it used to be quite extreme. Y'know, like, "If you don't share my taste in music you can fuck off.""

"I first heard 'Frank Sinatra' when Erasure where recording the album Erasure in 1994 at the Strongroom in Shoreditch East London, which has now become metrosexual electro Grand Central. I love her completely nonchalant don't give a fuck attitude on Hollywood Star, it kind of reminds me of my pre-Erasure work with Pierre Cope - very minimal. On 'Frank Sinatra' she sounds like a Russian Mafia gangster that would kill you stone dead. They're also brilliant live."