Peggy Guggenheim is a real hero to have done what she did in a man's world, as the art world still is.
I'm really into architecture, I'm a member of the Brutalist Appreciation Society; I'm a member of the Postmodern Society. I write letters to save buildings.
I think my whole career has been marked - or marred - by what people presume about me. But even that's fed back into the creativity. I'm saying that I'm about contradiction, that you can't put me into a box.
I've not got any terrible stories of what I had to do to scrabble my way to the top, obviously, because I didn't scrabble my way to the top. I just scrabbled my way to the middle!
I work extremely hard, but I love every minute of it. Although I couldn't work as hard if I felt there was a ceiling on anything. I spent £125,000 on four pictures for the sleeves for 'Overpowered,' and I loved spending it! It was like making a little movie.
I really do prioritise humour in people. It's a sign of intelligence. One of the most important things I heard that moulded me was Derek and Clive. That sense of release when I heard them for the first time, crying and laughing, was akin to seeing Sonic Youth for the first time.
You can't get a better education in what it is to write songs until you listen to American soul music.
I don't have a personal stylist, because I don't need one. I just really enjoy meeting designers and picking up clothes.
My da used to sing 'Take Her Up to Monto' to me when we were walking down the street - he still does, actually - because it's got a walking tempo, and I still sing it to myself when I'm walking along.
I've always been attracted to weirdos.
I work with men a lot, and there's a yin and a yang that goes on when you work one guy and one girl. And there's things that I bring that they don't bring and things they bring and I don't bring.
I have a little antennae, and even when I'm trying not to be, I'm connected with the bloody zeitgeist.