You can have so many different demands; trying to please the fans, pleasing the manager, please yourself.

You work every day technically, physically but so much is in the mind. Look at when players go on big scoring runs, then stop scoring. It's not that they are any different physically, it's very often mental, confidence, concentration.

People might think it's all about getting up for a game but it's often the opposite.

My wife is vegan and has been for a few years.

As I've got older I've become a lot more conscious of my diet and making sure I was getting all the right things.

Ultimately, what you're feeding yourself has a bearing on how you're going to perform.

You do see very few English players going abroad and those that do are largely good players otherwise they wouldn't have gone, but I feel a lot of their downfall is in the language. On the pitch you can learn the different basics of 'left,' 'right' and 'behind you' but off the pitch you want to have that influence around the team.

I was born in London but, after my dad passed away, we moved to Kent for a fresh start.

My mum tried her best. Now I try to make her life as enjoyable as I can because she has done so much for my brother and me.

I wish I knew in terms of more educated in food when I was younger. Because the importance of it not just in sport but in life too has helped me and I think it'll continue.

Van Gaal is receptive to other people's ideas.

When you have come from the bottom and worked your way to the top, you are more grateful.

I've always been a centre-half, to be honest.

I didn't know too many people in life, not just in sports but in life, that were vegan, so it was something that I had to educate myself on fully before I could, one, do it myself, and, two, talk to others about it.

'Onward' was a song I wrote in Montreux, in Switzerland, when we were there camping out for the whole winter. In the summer, Montreux is a really, really big summertime-touristy, full-of-life kind of place. In the winter, it closes down.

Steve Howe met Paul Simon and said that Paul was very approving of our version of 'America.'

I think what the story of Yes has been is we've wandered in and out of different styles over the years.

I hope, after I'm gone, there will still be a Yes.

With how huge Yes was, especially in the '70s and '80s, as a touring band and actually playing at the JFK Stadium in Philadelphia to 130,000 people, which is the biggest-paying show ever in rock history, you would think we'd done enough for the Rock and Roll Hall of Fame.

The Beatles had a six-year career, from 1963 to 1969, which - to me, in my early 20s - seemed like a phenomenally long time.

You can't ever really replace Jon Anderson because he's been such a force in the music business.

Most popular records are action-packed to the last semi-quaver.

'Close To The Edge,' we actually had played it from beginning to end before we recorded it in the studio. So we knew how long it was, and we knew it would fit on the album fine, so we didn't do any editing.

Not many people know this, but when Yes first started doing club dates back in 1968, '69, we did a few tracks from 'The Magic Garden' album in our set. We just loved the harmonies that the 5th Dimension had as well.

Persistence is a pretty important part of making it in this business, which, in retrospect, is the easy part. Maintaining a profile is the difficult part of the job. Somehow or another, I muddled through that system and somehow am around to still enjoy playing for people.

I do have a vague recollection of reviving the cover of The Beatles' 'Every Little Thing,' but I don't know if that was just our riffing on it in rehearsal. I don't think we ever did it actually in the show.

Rick Wakeman and Jon Anderson have rejoined and gone off again and rejoined, but I've been there the whole time, and even though Alan White is the 'new' drummer, he has been there since 1972, so he also deserves the credit for being around for 20 years.

I was working in a music store in London, and this particular place happened to be the importers for Rickenbacker guitars into England. So I started seeing these basses coming in.

Because of all the various people who've come in and out and brought along ideas, I've been on a learning curve throughout all these years. Of course, everyone that's been involved has influenced me as well. And I'm grateful for that.

I was a big Who fan when I was 15, 16 years old, and I used to go watch them play at the Marquee Club in London as often as I could.

The great thing about Yes is that it has always been flexible.

I really believe that the aliens are us from the future. It seems to me a very plausible reason that explains a lot of phenomena as opposed to green men with one eye from outer space.

On our studio album 'Fly From Here' in 2011, we spent a year and a half promoting that around the world.

Jon Anderson and I, we really liked a lot of classical music, and we wanted to get some orchestral arrangements going on 'Time And A Word.'

You're only as big as your last hit.

I know I always worked hard on making sure we came out with the best possible product and of course we were working with four other people, you have to balance that as well.

A nightmare is two bassists on stage.

Pull the good out of it and not worry about the drawbacks.

The other guys and myself have agreed that Billy Sherwood will do an excellent job of covering my parts, and the show as a whole will deliver the same Yes experience that our fans have come to expect over the years.

In a way, that's always been Yes' history to a large extent! Quite a few occasions when we've had a new band member or change in members, then we've done a new album with new chops and refreshed the musical approach.

I think it was 'Tales of Topographic Oceans' on 8-track that was the funniest thing because it would fade out in the middle of a song and fade back in again, and when the tracks change, it was quite amusing.

We did do the whole of the live suite from 'Fly From Here,' and that was very enjoyable to do. In fact, that is actually our longest piece of music, I think, that we'd ever done.

It depends on various things like if the promoters want to have a break so they can sell more T-shirts and booze, then they ask if we can do an interval. I personally prefer not to do that. Once you get onstage, I like to stay there.

All movies, when they're about the music business, tend to have a bit of a wide latitude in terms of how things really were.

'90125' was our biggest-selling album worldwide.

The way Yes works is when we have a new member come in, as in Jon Davison, it's appropriate that we see what differences we can get out of a new contributing member in order to keep Yes interesting.

I've always been a great believer that you have to keep producing new things in order to keep life interesting - not only for ourselves, but for the audience as well. That's really always been our principle and way of working.

Being called a 'music legend' is a very funny thing. It's nice to know that my work has been appreciated and that people have given me that status. On a personal level, however, I can't think about it too much. It means a lot... but then it doesn't.

'Drama' was put together quickly; there were a lot of intense, 16-hour days. Despite the pressure, it was a lot of fun, and the end result was an album I'm very proud of.

I think the first three Rickenbacker basses were imported around 1964. Pete Quaife, the bassist for The Kinks, bought one. Then John Entwistle from The Who bought one. As for the third one, I asked the manager of the store if I could get an employee discount. He said I could, and so I picked up that one.