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That was my fantasy, actually - to become a billionaire, buy the 'Sun' and the 'Mirror,' and close them down.
In a way, I'm always working with Mick Jones. I feel like he's watching over me all the time. We talk about everything: history quite a lot. Balloons and wars and old football players. The Clash.
I can't see why people call me a bad influence. I meet a lot of kids who are into music. I spend as much time as I can with them. I listen to their demos, and I'm encouraging.
I knew I had I a better album than 'Up the Bracket' in me, and I wanted to record it. But I was told we've got to keep touring, keep promoting. That was the first time I realised we were on a conveyor belt.
When you're young and idealistic, you don't care: you'll play to no one, in your bedroom - like kids with football - you'll play anywhere; you just love the music. And then, bang - soon as you're in the industry, you think that's the dream. But that's when the dream starts to end.
I have a distinct memory of friends I had at school whose parents were, for want of a better word, bohemian. That was the kind of England that I thought I should have belonged to.
It's never going to be hipster because you've got that smell that the sea gives out twice a day. That's why Margate will never be gentrified. However, there is art-led regeneration.
Music and fashion and art - they were the things we were willing to die for. 'Is my hair all right? Have you heard this tune?' They're the things that saved us. They're the things that are saving kids on Nuneaton council estates. There's no other way out.