The reality is, like any band, you can never quite quantify who does what.
Watching something being constructed, whether you're passing a building site or whether you're watching an artist at work, is fascinating, and I think that's the enjoyment.
There were a lot of gifted amateurs in my day. Most of the kids now play fantastically well. I think there are so many bands around now who might get there, but it's a tougher journey.
But I also enjoy music outside the band. I've been doing production for other people, including Robert Wyatt. Check him out. The album we did together, 'Rock Bottom,' I think it's really lasted well. It's a 35-year-old album, but it worked.
When you're in the car, how well you do is down to you and you alone-no band, no management, no marketing.
I do have electric guitars, because I've always believed, especially when I'm working in the studio with other bands as producer, that there should be a really nice Strat around.
Ever since the Beatles, the concept of lovable mop tops, it's a bit of a fantasy, but it's a lovely idea that people make wonderful music and live a wonderful life being friends together. Sadly, life isn't quite like that.
There are so many ingredients that are contained in 'The Wall' that were not necessarily contained in other Pink Floyd records, particularly following on from 'Animals,' which was very spare and sparse. Production on it was much more massive, the complexity of the recording was much more intense.
People simply don't have room, physical room, to keep, for instance, 2-inch tape in the sort of quantities that are required to hold a full archive. It's not just a matter of having three or four boxes, it's 40, 90 boxes of 2-inch tape, and very few people have the resources that sort of stuff properly.
Part of the gestation of 'The Wall' was this business of alienation from the audience, and so the interesting thing was, what 'The Wall' eventually became was something that absolutely engaged the audience.