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But when you get music and words together, that can be a very powerful thing.
I don't do interviews at all when I'm on tour, so this time, on a day off, I'll do that kind of thing a little bit. I don't do big promotion schedules, not when I'm touring.
I like to piece together different guitarists, unlikely bedfellows. You have Jonny Greenwood playing next to Nile Rodgers on the same track, so it becomes like an orchestra of sounds.
But when I started writing songs, I stopped painting completely, and the only art things I do are connected to the career, like album sleeves and, to some extent, posters and things like that.
All those rappers, they're the only glamorous people working in music now. They dress up in these chains of gold, cars, girls and this and that, high-heeled shoes.
I suppose young people think football is glamorous - soccer - it's big money and the stars of it, they look good and have a great big house and a huge Ferrari.
When I stopped touring in the early '80s for a few years, it was a mistake looking back. I lost touch with my audience in a way and I think that was a bad career move.
It's quite funny that, 20 years ago, one would have thought putting out a fragrance would [negatively] affect your musical credibility. Now it may enhance it.
I like lots of songs, and I find it quite interesting to do [cover songs] from time to time. My first solo hit was in 1973, the Dylan song “A Hard Rain’s Gonna Fall.”
I did some songs for Baz Luhrmann's The Great Gatsby. I had done a jazz album of Roxy songs, and they used bits of it in the film. It would be nice to score a movie one day.
I'd love to follow the Tour de France one day. It's a really exciting spectacle. I've only seen it once as it was coming into Paris and that was very exciting for me. I have memories of that.
At home I don't really have any drum machines or anything like that, I just have a piano and a cassette machine, an old-fashioned one, an old relic which I've always used.