"I was listening to this album when I went through a nihilistic phase in my life. I only listened to Sally Can't Dance by Lou Reed and this record. It's a very murky and dark record and if you're ever going through a period of your life where you're doing a lot of drugs then this is a good record to get into. It's perfect for a murky time. It's mysterious and I like it because while it's a funk record it's a funk record slowed down to Portishead speed or whatever. It just feels like you're in a slow motion dark funk thing. Yet inside of this drum machine-filled landscape are these lyrics that are very evocative and mysterious and they really deal with the delicate frailty of human emotion. There's a song called 'Spaced Cowboy' on it where he yodels, it's such an idiosyncratic album but I cannot recommend it enough, from start to finish it's beautiful. Apparently 'Family Affair' from this record was the first song to be played on US radio that had a drum machine on it. The whole record is filled with this drum machine called the Maestro Rhythm King. I was so obsessed with this record that I even found the same drum machine on eBay and bought it back when eBay was a new thing. Then my first wife took it in the divorce! She took it because she was so obsessed with it too. It's such a cool drum machine. I really miss it. I would like to have it back if it's possible."

"This is very similar to the Sly record in terms of concrete, abstract funk. When you hear it, it sounds really dense and dark. It doesn't sound organic, it sounds like it's from a concrete jungle. It never goes anywhere; it's in perpetual stasis, almost meditative. A few years ago, they released the sessions and takes, which is a bad thing to do because Miles would jam with his band and then carry on, sit and cut them up, mix them and turn it into Miles albums. It was very well arranged, and that was part of the fucking part of the aesthetic. Then to release the jam sessions for me was a bad idea because it's like releasing the out-takes of somebody's film. Whereas what Miles achieved with On The Corner was incredible. It's a big favourite of Primal Scream, we always used to play it on the tour bus. Miles was never about high energy, he's always cool and there's always a distance with him. All funk records are visceral and in-your-fucking-face, but On The Corner is quite cold too. It's an art funk record. He knew jazz music was old and didn't want to be stuck in the past. Miles was interested in young people and wanted to evolve with what young people were listening to. He was an open and receptive artist – that's the only way you can move forward with new energies and new ideas. We've learned from Miles Davis as a band, too: when you make music, you've got to make it for the future, even if you're not aware that you are."