"It's the same era, yeah. If anything, it demonstrates my eclectic nature, and also it illustrates an amazing period in music history. This album is still my favourite Bjork record, though I love a lot of things she does and I don't want to limit her to this one. It really illustrated the zeitgeist, especially if you were gay. There was a sophistication [to the gay scene] that wasn't being defined by the dance music scene – though maybe a little bit with the Pet Shop Boys. Bjork really brought the whole dance world, the clubbing world, up to this other more introspective level, and dealt with this strange life that everybody seemed to be living: on one hand it was really great and beautiful and passionate, but also very frightening, drug-induced and AIDS-related. She just became this kind of phantom for what everybody was really feeling."

"It's another strange thing; you had to keep some records as secrets on the punk scene, but John Lydon was into [founding member of Van der Graaf Generator] Peter Hammill. There's an idea that people would hide their Genesis records and get out The Damned ones if people came round. I didn't hide mine, although I didn't play them to Ian when he came round. They're a funny band, Van der Graaf Generator. At the time, with Pawn Hearts, all of your mates would say: "Ooh, there's a track that's three days long… it's pixie stuff". But 'A Plague Of Lighthouse Keepers' is completely overblown, like a nightmare with saxophones. I suppose it's the ultimate prog-rock album: it's really overblown, but still of the terrifying. I really like Peter Hammill. He's another guy who's really unique - he has a really individual way of singing, and it's very raw."