11. DJ Food

The thing with this is, it only makes sense when you got 400 people on it dancing to a big sound; it has to be a big sound system. It could also be horizontal on a sofa – you’ve just come back from that 24-hour garage and, you know, there’s that squidgy black, twos-up unity in your flat with lots of other people and you’re just sharing this moment. I drop it in amongst the house set and it’s got some percussion in there and, like the Floating Points number, there’s enough rhythm in it to keep people kind of moving until ultimately, it all goes wild.

Harvey’s obviously in his 30s at that point and he was a huge part of the Manchester sound. We brought him up to Manchester many times 30 plus years ago and he’s remained a hero. He was really doing stuff that was so exciting at that point, which no one else was doing; not even the Americans. And there was a sound he had – it was almost like house but not house, a sort of sonic jazz, futuristic, fuck-knows-what sound. It’s a fucking brilliant record. And bizarrely, it goes mad on a dance floor. I fucking love this record.