I liked Germany; I'm not into Berlin, it's too huge and empty and imposing, but Munich was good.
There are a lot of people who can do it on the guitar and sing at the same time, but I think what is harder is bass players that can play the bass and sing.
I've always looked at shoes as being immensely beautiful things.
It's a bit loose and the people in my group have got other groups. They don't have to have a total allegiance to me. I think that's really a bit weird and showing some weird insecurity.
It's mostly Mars Bars and peanuts and cheese and you go to the fridge and there's Red Bull and Beer. It's not like people are holding me down and pouring beer in my face.
I think a lot of cynicism has dropped away from my shoulders since I stopped drinking.
I think now, more than anytime I can remember, bands are sounding pretty similar whether they're English or American, from Manchester or London... or Leeds or Welsh or Irish.
Playing and singing at the same time is pretty cool, but sometimes it's difficult to know when you can just really let go a bit because you've got to get back to bloody microphone and sing some stuff.
When Blur first started and we were playing Manchester the Hacienda was the place to go. That was where a lot of exciting stuff was happening and London was pretty dead.
I'm a bit of lunatic with shoes and jackets and jeans. It's just how I am.
I love the magic of the studio.
A singer for me is more like someone who is standing alone with a microphone like Scott Walker, rather than someone who is bashing a plank and is spitting all over a microphone.
Being a singer now I have to get all fussy... I must have my ginger and lemon and all that.
I'm still trying to discover my position on my own artwork and hopefully at this exhibition someone will come and tell me. I'm open to listening to criticism.
Manchester has it's own pride and London has it's sort of pride and sometimes we can be a bit mean to each other, but I think if we dig the music we can get on really well.
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