He's looking at a new future through wiser, philosophical eyes.

I think that the way that London work, they're working more like an independent now than they ever have, and they've adapted.

And a lot of these old companies can't adapt.

They just can't.

And I find that, I think that's very interesting how, like, metalheads can work alongside London now.

There's a, there's a fine balance with that because of the mechanical side of it on how you can progress into life.

So the myth of it all is, uh, when your face on every poster in London, does it really count, you know? What have you really got? What can you really do? What can you deliver? Have you got, have you got the longevity of an artist? 'Cause if you wanna do it independently, you pretty much can do that now, but you need to get the weight out there.

Rage is tortured, mercurial, a diva, and working on his difficult and lengthy second album

albumMany years later, after Kill Your Friends came out, and there's a thinly-- there's a character in the book thinly based on Goldie.

He, um, he called me at some awards thing.

He was absolute sweetheart about it, you know.

He, um, you know, he, he got it, and he thought it was really funny, you know.

In the way that people do, I think, when they've got older and changed, and they'll note that now.

But I digress.

How did you feel about the character Rage in Kill Your Friends?

Suddenly, slap bang in the middle of the 1990s, a demo hit the CD player in Pete Tong's office that was just what he was looking for and would change the way the underground was viewed.

Uh, this is Goldie.

London at the time were cutting edge.

They did take chances.

They didn't give a fuck.

So as far as we were concerned, we were really changing the way you approach music.

Timeless itself took about three weeks to write.

But, um, fortunately, the music was great, so it wasn't a problem.

How would you describe the music business to an alien or someone who's just crawled out from under a rock?

[laughs] I would describe it in the same way that Hunter S. Thompson describes it.

The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free and good men die like dogs.

There's also a negative side.

[laughs] It's good, isn't it?

If you could do it all again, would you change anything?

There was a, there's a great card, postcard on my window at home and it said, uh, yeah, m- the mistakes have taught me so much in my life.

Thinking about making a few more.