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Punk rock was great in some senses: it cleared away a lot of shit, but musically I found it quite conservative. So it was a combination of timing in terms of punk, the DIY movement and relatively cheap synthesizers on the market.I felt it was my time — I was driven to make some electronic music. I was working as an assistant film editor at ATV at the time.

The college had a little sound studio with three ¼-inch tape recorders in it, and we used to do experiments with tape loops and things like that.

We’d also have guest lecturers; one was Ron Geesin, a poet and sound artist who’d just worked with Pink Floyd, and he’d just bought a synthesizer — an EMS Synthi A, basically the same thing Brian Eno used in Roxy Music but in a suitcase.

We went to see him; he was really friendly and gave us some tips and was very supportive. After school, my passion was music and my second passion was film. I went for my interview that spring and met all the staff.

Then there was this new program, which nobody had heard of at the time, called They pre-recorded the first five episodes. I went to art school in Guildford and did a three-year course in film and TV. During that summer there was a big student uprising in the college.

He invited us to one of the recordings — it was the episode with the famous ‘nudge nudge’ sketch. The staff on the course supported the students, and all got fired.