The other thing I felt was that the philosophical concept behind the experiences also looked like it had been designed by technicians and not by entertainers. I felt I needed to grab hold of it and try and push the envelope as much as I possibly could right now.
The hardware manufacturers, game designers, cable companies and computer companies and, in fact, film studios are going to ensure that this thing marches on. They know that they are going to make an enormous amount of money from it.
Then I have a head mounted display which actually was designed for the military to do synchronized building entries and that's looking down at my hands, so projected on the big screen behind me, you can see my hands as I'm putting the tracks together.
There are a lot of producers coming out calling themselves interactive and a lot of them at the moment are being designated by the big companies.
It's especially great with Head Space because it's kind of like forming a band, I can bring on board some of my friends that I think are talented.
I'm actually more interested in the other half of the world, because I wouldn't like to be excluded from any of this technology.
In a way, my role now is to shift into the next set of tool, which is virtual reality and interactivity. That to me is very enticing.
If you think back to the '70's, there were these new tools, with very few people using them in pop music. There's a real parallel with that now.
If you're Take That for example, you don't need to be seen in the studio. But they have their own fans, and their fans would like a way to get closer.
But it really took this long for me to be able to take a breather from it and come back to music which was always my first love.