You’ve got to remember that what you’re doing is spiritual and soulful – not that it’s religious, as such, but the connection between you and the audience is circular. You send out the energy and they give it back to you. It’s like your performance wakes them up and gives them permission to lose their minds for a couple of hours, and they don’t have to worry about anything else. People walk into a room with their nice clothes on, and they want to go a bit crazy but don’t want to embarrass themselves. You’ve got to give them permission to freak out, and wake up the demon inside. Once you transmit that wild vibe into the audience, they lose it and don’t care. I can feel the energy before I run onstage – sometimes the crowd feels like a giant keg of gunpowder and I am the match.

The voice I hear and that speaks to me in a coherent and meaningful way is not a vibration of air molecules or the agitation of hair cells in the inner ear. The voice and the meaning I attach to its utterances are internally represented or constructed. It seems that this inferential process is what goes awry in psychotic states.

The stuff in the window was so outrageous that I hung around on the pavement outside for ages, trying to pluck up the courage to go in. Once I did, Tommy Roberts was so friendly and enthusiastic that he talked me into buying a selection of clothes not even Tony King would have countenanced wearing in public. Wearing them, I felt different, like I was expressing a side of my personality that I’d kept hidden, a desire to be outrageous and over-the-top. I suppose it all went back to chancing on that photo of Elvis in the barber’s in Pinner when I was a kid: I liked that sense of shock, of seeing a star who made you wonder what the hell was going on. The clothes from Mr Freedom weren’t outrageous because they were sexy or threatening, they were outrageous because they were larger than life, more fun than the world around them. I loved them. Before I went onstage at the Troubadour, I put them all on at once. So instead of an introspective hippy singer-songwriter, the audience were greeted by the sight of a man in bright yellow dungarees, a long-sleeved T-shirt covered in stars and a pair of heavy workman’s boots, also bright yellow, with a large set of blue wings sprouting from them. This was not the way sensitive singer-songwriters in America in 1970 looked. This was not the way anyone of sound mind in America in 1970 looked.

This sort of gap between what a person says and what he makes you feel is not uncommon – think of the friend who rings you when you’re down, talks to you in an encouraging, supportive way, but leaves you feeling worse. The space between Matt’s words and the feelings he provoked in me was enormous. He was describing a life that was frightening, but I didn’t feel frightened for him. I felt uncharacteristically disengaged.

Sometimes this difference is not even substantive. Sometimes it is a shift internally that the listener cannot see, but the thinker can feel. Sometimes it is a new emotional relationship with the thought.

So I have become impressed by those thinker-‘repetition’ moments, now understanding that, yes, it matters what the thinker says, but it matters more what happens for them because they say it.