D.I.Y., D.I.Y., D.I.Y., D.I.Y.
Don't tell me what I will do, 'cos I won't.
Don't tell me to believe in you, 'cos I don't.
Be on your guard, better hostile and hard, don't risk affection;
Like flesh to the bone in the no-go zone,
You're still looking for the Resurrection.
Come up to me with your "What did you say?"
And I'll tell you, straight in the eye:
D.I.Y., D.I.Y.

Climbing up on Solsbury Hill,
I could see the city light.
Wind was blowing, time stood still.
Eagle flew out of the night.
He was something to observe.
Came in close, I heard a voice.
Standing stretching every nerve,
Had to listen had no choice.
I did not believe the information.
I just had to trust imagination.
My heart going boom boom boom.
"Son," he said, "Grab your things, I've come to take you home."

It's extraordinary what that song has been used for — I think a lot of people who have gotten into trouble, have attached themselves to that song, and I think a lot of it is Kate's wonderful voice is there, in a sort of reassuring and loving way, and it just makes them think that perhaps there is going to be that type of love out there for them.

Creativity comes from the freedom to fail. And freedom to fail comes from experimentation, and that's what gives something its individuality. And, you know, I think her courage, which is the positive way of interpreting it, or bloody-mindedness, which is the negative, is part of what gives her real value as an artist.

The Man with the Child in His Eyes is still one of those things, which right from the get-go … has its own life, because it's just a great song. … For all the time that she or I or anyone spend decorating and creating moods, its actually the key element of what your saying, the melody and the chords which still speak louder than all the stuff around, on a great song.