Can we talk about the beginning of Felt?
Lawrence: Maurice Deebank used to come round my house in 1978, and I used to think “I could do a band with this guy” but he wasn’t ready. I’d known him since I was 7. Then I’d think “I’ve got to do a band, but I can’t do it with this guy. I’m gonna make a record. I’m not good enough to write songs. I want it to be the best record ever, but I’m not capable of that yet. So what can I do?” It was the time of the DIY revolution – the one period when making a record in your bedroom was good, Thomas Leer with “Private Plane” and Robert Rental. I thought “I’m gonna make one of them…” I thought it’d cut out all the rubbish, having a van, putting a band together, rehearsing, getting some attention. I’ll make a record.
But I couldn’t make a great record, because I’d be doing it in my bedroom. I thought, “I’m going to make the most outlandish thing possible, it can’t be ignored. But it can’t be about music. It’s got to be a massive statement, like “I’m here. Waving the flag” “So I did “Index” in my bedroom, I tried to do something unclassifiable. It was neither good nor bad. It was just there. It just existed. I was trying to conceive ways of doing it, being famous. I wouldn’t have wanted to do a local group, and build myself up. I wanted to do a group that signed to EMI. I thought if I detour round this for a while, I can get myself known. I fit into that DIY thing perfectly – I was a fan of noise, I’d come of age, I was post-punk, though that wasn’t a word then. I loved unusual music, Fripp and Eno. I understood music wasn’t just about songs, but about many, many other things. I could introduce myself.