Original subtitles

I love you.

I know.

I love you.

I know.

I love you.

I know.

I love you.

I know.

I love you so much.

I know, bunny.

Geni. Geni and Jaye.

- Allô. - Oh, do you comprenez?

Oh, Geni, Geni... is going on the subway.

You know how it is. You fall madly in love with somebody,

hopefully, at least once in your life.

And there's this moment where you just want to consume each other.

You just, "Oh, God, I just want to eat you up."

I just want to just take you and swallow you up.

And just you and me just be one fabulous moment of being in love.

And not be individuals anymore.

That sort of feeling. We had that so strongly that we felt we wanted to pursue that.

Not just talk about it but live it.

Hello.

- Hello, sweetie. Hello. - Hello.

- Mmm. - I got a funny tummy.

- Hey! - Hey. Are you all right?

- Yeah. You know, always a little... - Frazzled?

- You know, when I come home. - Yeah.

Yeah, it takes me a little while to decompress.

I'm so hungry...

Ooh, you found your sock, big boy. Whoo-hoo.

That's all right. When I'm through eating, that's for...

I was living in California, Northern California, with my two children.

Genesse and Caresse.

Once in a while, for a break, I would come to New York

and stay with my friend, Terence Sellers.

And in order to finance her life as a writer,

she worked as a dominatrix.

And she had her own dungeon.

I went there for a long weekend.

And I went out every night to Jackie 60,

this sort of performance art, interesting nightclub in New York.

Partying and dropping ecstasy

and having a good time.

And I finally decided I needed to sleep,

so I went to her place.

And she said, "You'll have to sleep in the dungeon."

I said, "That's okay."

So I was lying on the floor in the death pose with a white sheet over me.

And then I heard these noises and I woke up.

I could see through the doorway of the room

this incredibly tall, slim...

to me, very beautiful... woman walk across the doorway,

dressed in all authentic '60s clothing.

And she was smoking a cigarette, of course, very elegantly.

And she started walking backwards and forwards across this doorway.

And I was just entranced... just great.

What a nice way to wake up.

And then she started to shed her '60s clothing

and she gradually got dressed in all this incredible fetish clothing.

And I just thought, "Wow!

My two favorites all-in-one, that's great. Who's she?" You know?

It was very unlike me.

But I do remember very clearly closing my eyes,

and it was almost like a prayer.

I... I basically said,

"Dear Universe,

If you find a way for me to be with this woman...

that's all I want; I'll stay with her forever."

- ♪ Be be you ♪ - ♪ Be be you ♪

- ♪ Be be me ♪ - ♪ Be be me ♪

♪ Be be what I ought to be ♪

♪ Be be everything you see ♪

♪ Be be special ♪

♪ Be be free ♪

♪ Be the one revealing things ♪

♪ Be the keeper of the rings ♪

♪ Ring the bell And step outside ♪

She became my best friend.

And she was just a lot of fun. We had a fun time, giggling.

And she would buy champagne.

And she loved to dress up in wild clothes.

So I just... when I would go out with her...

I felt really proud to have this gorgeous woman on my arm

that was almost half my age.

♪ If you sit with fear A star too far ♪

♪ Almost lost In this storm of life ♪

♪ A blazing ghost Can become the host ♪

♪ And you breakthrough ♪

♪ To the room of dreams ♪

Oh, hey, come everybody.

Luann! Stop. Moment of tradition.

It's the cake time.

- Come on! Come on! - There she is.

♪ Happy birthday to you ♪

♪ Happy birthday to you ♪

♪ Happy birthday, dear Jackie ♪

Jackie, Lady Jaye, and everything!

♪ Happy birthday to you ♪

Speech, speech, speech.

I wanna thank everyone for coming and making it such a fun day for me.

I wanna thank my beloved dear friends, and new friends.

- And I wanna thank Gen. - Yay, Gen, Gen.

Ta-te-ta, ta-te-ta.

Ta-te-ta, ta-te-ta.

Lady Jaye was really remarkable in her ability to edit very quickly.

And the very first day that we met,

she intuitively dressed me up in several pieces of her clothing.

A skintight bottle-green velvet jumpsuit,

and a leather miniskirt, and Fluevog shoes.

And she sort of braided little trinkets into my hair.

And then we went out.

She said, "Now you're ready," and took me out into the East Village.

And so she really picked up instantly, um,

on that aspect of my personality.

And the Native American flute...

God, you're cute. Can I give you a kiss?

I always dress up for housework.

Sometimes when I'm really tired and there's lots to do, like vacuuming and things,

that's when I dress up the most, and I'll put on five-inch heels.

Silk stockings with seems, perfectly straight,

and really pretty lace lingerie,

and a tiny little skirt.

And then a really sexy top

with a very, very sort of stylized or lacy bra.

And lots of makeup... make myself perfect,

as if I'm going to the most important opening of a film that I could possibly go to.

And then I do the housework.

And I imagine that I'm...

I have an audience of fetishists everywhere in the house.

And once you've done that a few times,

you'll discover that housework becomes innately sexy.

- Hello. - Good morning, Jaye.

- Hi, sweetie pie. - Hello!

I'm cooking for you.

My name is Chef Abrahamson.

I'm making Swedish meatballs.

Let me make it up to you.

Let me make it up to you. Let me barbecue for you. I'm a maven at the grill.

- How are you, hon? - Your hair grew.

- Huh? - Your hair grew. You look amazing.

- I'm hairy, yeah. - You've grown a little hairier.

Look at my hairy-air.

- So, bunny. - Yes, baby?

- Would you like some ravioli? Little bit of ravioli? - I'll have a few.

- But give me a few minutes. I need to unwind a little bit. - Of course.

You need us to get out of your hair?

I could, uh... Yeah, the kitchen's a little cramped.

I gotta put this food away.

Okay. I'll have a cigarette.

Why don't you go up on the roof? It's nice and cool.

Don't... Let's go, Folly. Mwah.

My love is a beauty who never grows old.

He flies over pastures where shadows are sown.

The heart of a tiger, the lips of a whore.

She's painting a picture of time.

Change can still bite a heart of stone.

Where shame is chiseled in flesh and bone.

But came to know...

And are left alone.

This house is full of useless information.

- Surprise! - What?

It is... It is ephemera.

It's full of ephemera.

Ah, we found a use for the archive. Hide and seek.

We can play hide and seek with it.

I was trying to think what can we do with all this shit. That's it.

Hide and seek.

Where does it go?

Look. Can't get those down. That's "Heathen Earth" posters up there.

There's all kinds of stuff down here.

There's actually the entire story from beginning to end

of industrial music,

which is pretty remarkable.

All the files are still over there

and all the press cuttings and all the receipts...

My first album. 1967.

- That's you. - But my favorite part of this is:

"We have nothing to say and we're saying it."

Isn't that sophisticated for 17 years old?

So this is what happens to an idea sometimes, you see?

Lady smells good.

Fall back!

Fall back!

Ladies. Ladies. Ladies. Lady smells good.

Lady smells good.

Fall back!

Fall back!

Lady smells good.

Fall back! Fall back!

Lady. Lady. Lady. Lady smells good.

Lady. Lady. Lady. Lady. Lady.

We can remember being really excited

going into the Virgin Megastore in Oxford street.

And they'd finally put in one of those little dividers

with "Industrial Music" for the first time.

And I ran in and took a picture of it. I was all excited and went out.

"They've got... They've got an industrial music section in Virgin! Can you believe it?"

And there was Cabaret Voltaire and Throbbing Gristle, that was it.

And now look at it.

September 3, 1975.

London Fields Park in Hackney, East 8,

industrial music was named.

♪ I want ♪

♪ Discipline ♪

♪ I want ♪

♪ Discipline ♪

♪ I want discipline ♪

♪ Are you ready, boys? ♪

♪ Are you ready, girls? ♪

♪ Are you ready for The discipline? ♪

♪ I want discipline ♪

♪ I want discipline ♪

♪ I want discipline ♪

♪ I want discipline ♪

♪ I want ♪

♪ Are you ready, boys? ♪

♪ Are you ready, boys? ♪

♪ Well, we won't go! Well, we won't go! ♪

♪ No discipline in here ♪

♪ Are you ready, boys? ♪

We started in '75.

Every weekend, on Friday, Saturday, and Sunday.

Chris and Cosey and Sleaze and myself would meet at my house in Hackney,

and then go to the Death Factory and jam with instruments... what we had.

Originally, it's just what we had lying around,

which was a broken bass guitar that Chris fixed.

Chris made his own synthesizer from scratch.

This big, huge modular synth that was amazing.

Sleazy created the "box of tricks,"

which was six or eight Walkman cassette recorders.

And he converted them so that they went to a keyboard.

And by pressing the keys you would cut it all up.

So it was a sort of machine for doing a Burroughs-Gysin cut-up.

- Look at that picture. - Good.

- Good. Thank you. - Seem to be persisting?

- Does it seem to be persisting? - Good. Thank you.

- Good. Thank you. - Where are we now?

T.G., in my opinion,

one reason it was so successful is because it took the magical formula of the cut-ups

and inserted it into rock and roll.

♪ I want ♪

♪ I want ♪

And it wasn't because of anything we were doing per se.

It was just that we opened up a hole in reality...

with the cut-ups that we used.

We smashed a hole through rock and roll expectations over here,

but you led all these other people through rivers, like Cabaret Voltaire,

and, later on, Nine Inch Nails, and whoever else.

So that's where Burroughs was so influential.

But he also was so supportive.

He was friends with Lord Goodman,

and Lord Goodman used to be very important in the Arts Council.

And so through Burroughs the Arts Council got interested in COUM.

And he wrote me references to the Arts Council,

and that's how we got grants from them.

And looking back,

I mean, how amazing that somebody like Burroughs

would take time out to give so much practical assistance

to these avant-garde artists from nowhere, you know,

that dropped out of university and never went to art college

but had all these grandiose ideas about changing the culture and cultural engineering.

But he did. He really supported it.

And he deserves a lot of credit for that.

This is one of my favorites.

"The Arts Council which helped finance

the controversial Genesis P-Orridge's sex art exhibition admitted today:

‘We made mistakes.'"

"‘And top of the list: Mr. Orridge's COUM Transmission Group.'"

"These people are the wreckers of civilization."

Isn't it amazing? What?

What a little bit of sex can do in Great Britain?

Oh, look, here's... These ones are great.

They used to have this thing in England with the newspapers that during the day

they'd put these silk screens up in special frames all over the town,

to let you know what was going to be the main story that day.

What was the exciting, breaking news.

And normally it's "Prime Minister Says,

‘We're Going to Drop the Bomb on Afghanistan.'"

Or "Bank Rate Falls" or something like that.

But we are very proud to have our own

that was all over Britain one day.

That's me.

From the moment we met William Burroughs in 1971,

we were asking him to let me know how to meet Brion Gysin.

It was seven years before he gave me Brion Gysin's address.

Once I met Brion, I got in touch with William a lot less often.

Brian was my mentor. So intelligent.

And it was incredible. He was a sort of animated encyclopedia of alternative knowledge.

He would smoke hash all day.

So what would happen was I would save up money until I could afford to get to Paris.

I'd be there eleven o'clock, and go up to his apartment, knock on the door,

and he'd welcome me and make me peppermint tea.

He found out my favorite biscuits were Cadbury's Chocolate Fingers.

From the first time I visited him...

from then until his death in 1986...

he always had a least one packet of Cadbury's Chocolate Fingers in his cupboard

in case I came to visit.

Isn't that incredible, for somebody that well known,

and that busy and preoccupied, to take that much trouble?

He would sit at one end of the table with his pipe and go...

"Well, of course, when I was in Morocco in..."

And he would start, and that was it.

And at eleven o'clock at night he'd stop.

Every day, 12 hours, bang, bang. With a little break for an hour when he made a snack for lunch.

And I never got bored, never thought about the clock.

Never wanted to be somewhere else. It was just riveting.

From the bottom of... of the sea.

Look all right? There's one more verse, if you want.

Oh! Well, we got to do it, then.

Do one more while we're here? Then it's finished.

- It's the cameraman that's got it. - More trumpets and violins.

Can't not have the trumpets and violins.

You're doing very well. It's almost finished. It'll only take you two minutes.

We recorded "Are You Experienced?" the cover version,

and then decided to put a video with it.

And we filmed in two places, in Brighton at the Fun Fair.

So that's where you see Caresse going up and down on the big wheel,

laughing and eating ice cream and so on, and spinning around on the various rides.

And then we went down to Derek Jarman's cottage in Dungeness,

and filmed her doing her improvised dancing and smashing a guitar

in his famous garden made out of stones and driftwood.

And Derek was watching from the side that day.

- Maybe you can't hear this. - And he was really thrilled: "Oh, it's so marvelous, Gen.

It's so marvelous. Oh, it's so wonderful, so marvelous."

In that really queeny way of his.

- Take hold of my hand. - And Genesse is hitting the gong.

'Cause she insisted on being in the film too.

But that record actually went to number one in the Italian charts

and became the theme music for the top pop program that they had at...

The Top 20s... and it was theme music every week for months.

Good attempt. Good attempt.

Are you experienced?

Have you ever been experienced?

Have you ever been experienced?

Well, I am.

Well, I am.

Everyone is telling the truth all of the time.

Everyone is telling the truth all of the time.

Well...

it's just that times change.

♪ Boys are girls And girls are boys ♪

♪ To E.G.V. They're more than toys ♪

♪ Boys are girls And girls are boys ♪

♪ To E.G.V. They're more than toys ♪

♪ Here is something You've got to know ♪

♪ Boys change to girls ♪

♪ And girls are boys ♪

♪ Boys are girls Girls are boys, you know ♪

♪ You know ♪

♪ You know ♪

This is me. That's me.

This is me. That's me.

This is Neil Andrew Megson.

He's a boy.

This is Genesis Breyer P-Orridge.

And she has no idea what she is.

♪ Wisdom ♪

When suddenly I was moved to Birmingham to this really strict public school,

you had to wear a woolen suit,

and you had to have lace-up Oxford shoes,

and the same tie, and these really tight shirts,

and you hair had to be right up here.

It was pointless torture.

The first day I got there, nobody told me anything about the school rules.

So I turned up and I asked around.

I was told to go to a particular classroom. So I went there and sat down.

And there was roll call, and then a bell went off.

And everyone vanished without saying anything to me.

So I looked around and thought,

"Maybe it's a playground break or something?"

So I got up and wandered out.

And everyone had disappeared, so I started to walk around the school.

Nobody anywhere.

And finally I found one of the teachers and said, "Where is everybody, sir?"

And he said, "Well, they're in the chapel, of course, in the church."

So he grabbed me and said, "I'll show you where it is."

And then burst into this church where all the school and all the teachers were.

And the whole place turned round and went quiet.

And this teacher dragged me physically down the aisle of the church towards the altar.

And then in front of the altar, under this 50-foot-high painting of Jesus,

he turned around

and said to me while everybody's watching,

"What's your name?"

So I said, "Neil Andrew Megson, sir."

And he goes, "What class are you in?"

"Lower 5-2, sir."

And he says, "No, you're not.

How could you possibly be in that class? You're far too small and pathetic.

You must be at least seven years old."

And the whole school starts laughing.

So the minute I got out of the church

all the other kids started to attack, physically.

The next time there was a break, I got kicked unconscious,

while they were all laughing at me, going, "You're only seven."

Thrown down concrete steps.

And from then on I was beaten up every single day for three years.

So...

one of those places where you either submit

or you decide that you'll fight.

Guess what we chose.

This is the final war.

We have an absolute right...

to be whoever we want to be!

I am so sick and tired of being told

what I'm supposed to look like!

This is not my body.

This is not my name.

This is not my personality!

Someone said, "You're supposed to look like this!"

Someone told me,

"I want you to be the same as the one that went before."

I am not!

I refuse... to be the same!

We got married on Friday the 13th in 1995.

But we decided that I'd be the bride and she'd be the groom.

She got me a beautiful white lace wedding dress.

And I still had dreadlocks.

And she wore tight leather trousers

with motorcycle boots,

and a leather waistcoat, or vest as they call them here.

With nothing underneath, undone.

And she drew on a mustache.

♪ You know how much I love you ♪

♪ I give you all my life ♪

♪ No one may take my life From me ♪

We started to think about,

instead of having children, which is in a way...

a child is the two people combined to become a new person.

What if we made ourselves the new person instead?

So it began as very romantic, about love,

and about wanting to be as much like each other as we could.

In a way almost a physical orgasm.

Because an orgasm is also a moment when two people become one.

So that was the beginning of it.

But as we thought about it and explored it more,

we realized that we were including

some of the William Burroughs and Brion Gysin ideas of the cut-up.

And so we started to take and have cosmetic surgeries to look more like each other.

Burroughs and Gysin said that when they cut up writing and remixed it,

that they were no longer the writer.

It was the creation of what they called "the third mind."

So, with Lady Jaye and I cutting up our bodies,

we say that we're creating a third being, a third entity,

and we call that "pandrogyne."

When we began to explore that, we realized that, in fact,

it was really about evolution and the future of the human species.

It's that straightforward.

So pandrogeny in the end is a cry for survival.

So, we started dressing the same and doing our hair the same,

and then getting little things done.

She got her nose done like mine, and I got little tattoos of her beauty marks and so on.

And bit by bit, the more we started to do that,

the more we noticed the philosophical side of it,

which was that human beings are trapped in this either/or universe.

So we decided to really push ourselves.

And on Valentine's Day 2003,

we both got breast implants together

and woke up next to each other holding hands.

It was a very, very romantic moment.

And the first thing that I said when I woke up was...

I looked down, I went, "Oh, look. It's our angelic bodies."

♪ This world, this world ♪

♪ It's not our home Stepping over ♪

People tend to assume that-that, uh, androgyny

is something that's come from me and she agreed to because of.

But, in fact, it's far more something that Lady Jaye computized

through her combination

of medical fascination... of knowledge and fearlessness...

took to a level that would never have happened otherwise.

Who else would you imagine could sit with Genesis P-Orridge

as well as before it was Genesis Breyer P-Orridge,

and go, "Yes," to everything.

"Yes, let's do it. Yes, let's jump off that cliff."

♪ Santa Claus Is checking his list ♪

♪ Going over it twice ♪

♪ Seeing who's naughty And who is nice ♪

♪ Well, don't you see ♪

After we had breast implant surgery,

then came the question that Jaye rose,

"What are you gonna tell Caresse and Genesse?"

And that was one of the weirdest e-mails I think I've ever had to write.

But we wrote this long letter and tried to explain that this was an art project.

And it was about, um... the same old stuff.

Caresse, she basically said,

"Oh, does that mean I've got to call you ‘Mummy' now?"

And the youngest one said, "You mean you spent all that money on breasts

when you could've bought me a new car?"

♪ Don't, don't do What you want ♪

♪ Do what I want ♪

♪ 'Cause it's not your house ♪

♪ It's my house ♪

♪ Why today? ♪

It was my birthday.

I remember it all quite clearly.

Oh, wow!

I was three.

Such a beautiful baby I made.

All dressed in the prettiest white lace dress.

White patent-leather shoes.

And a satin bonnet covered in ribbons.

Pink roses over my long blonde curls.

Yes. A beautiful baby.

And happy.

Jaye left home when she was 14 and ran away to Alphabet City,

which, in the early '80s,

was one of the most dangerous places in America, if not in the world.

And lived there as a 14-year-old cute girl in squat.

And put herself through nursing college at the same time,

by working at night as a dom and also in strange cabarets.

She also had been doing very intense,

very physically-based performance pieces too.

Hers were very much about denying female stereotypes.

And so they would be violent with each other,

and they would again switch characters

and create new characters.

She'd already immersed herself in performance art

and theatrical explorations of identity,

again, based in this very strong, instinctual refusal

to accept what you're supposed to be because of your gender.

And so she always called the human body a flesh suitcase.

I've never really felt comfortable being in a body.

I've always felt quite trapped in my body.

I feel as though I found my soul mate.

Uh, I never feel... I never feel alone or lonely.

That's just something I don't experience,

uh, any kind of feeling of alienation.

No matter how strange the world outside gets,

I know that there's someone that understands me.

Your music's shit.

That's how you discover interesting combinations.

That you didn't expect.

♪ Life is a vacuum pump ♪

♪ Always sucking me dry ♪

♪ Life is a vacuum pump ♪

♪ Always sucking me dry ♪

♪ "I love you anyway," you say ♪

♪ And you lie on the bed ♪

♪ The sheets are crumpled Round your head ♪

♪ Maybe that's how we meet ♪

♪ We need to feel That we're complete ♪

♪ Communicate or die Through it ♪

♪ Sometimes That's the lie of it ♪

♪ These things We shouldn't do ♪

♪ Always end up destroying you Anyway ♪

We're gonna do it in the beginning where people break-dance.

I'm totally coming out there and doing it.

Eddie was making me laugh so hard last night,

I thought I was gonna throw up.

It was amazing. Gave me pure joy.

Oh, yeah, but what are we wearing tonight?

- Are we wearing black or white? - White.

White.

♪ Life rolls down the earth ♪

Check, check, check, check. Two, two, two, two.

Two, two, two.

- ♪ We can dance ♪ - Oh, yeah.

It sounds good out there, but here...

Thank you.

Bureaucracy is bizbos. Bureaucracy is footprints.

Can you hear Lady Jaye's samples when she does them when we play?

Yeah.

Here's low.

- Yeah? - Yes!

♪ Sharon lies on A Hollywood beach ♪

♪ Sharon sees all her hopes Are in reach ♪

Jaye said the last thing she wanted on earth

was to be in a fucking rock band.

Basically, we sneaked her in by saying...

when we were working on Trip Reset...

"We need a story on this track.

Could you write some kind of little story,

one of your weird stories, and read it?"

And it's brilliant.

So bit by bit, we would encourage her

to add these little sound effects and so on.

She didn't notice that we'd sneaked her into the band.

And then it got to touring time,

and there was no question about her wanting to be at home without me,

and me wanting to be away on tour without her.

So the obvious solution was to say, "Guess what? You're in the band."

"Doing what?" she would say.

"Samples" was the reply.

And she couldn't really argue because everyone knew

that she was doing all of the sound effects already.

She would light a cigarette and smoke it, do her makeup.

And basically do everything she could think of

to make it look as nonchalant and unimportant as possible,

when, in fact, she was running the show.

♪ Oh, Roman ♪

♪ Roman, Roman P. Yeah ♪

♪ Roman P. ♪

♪ Roman P. ♪

Hey, Mattski, can you turn my vocals down a little bit in my monitor

and Gen's up a little bit?

That sounded pretty good though.

There's no Gen in my monitor.

- There we go. - Check. That's good for me.

Now I need more Gen.

Sounds really great outside.

Allô?

Hello.

Correct.

That's right. We... After Amsterdam, uh,

myself and Lady Jaye split off from the rest of the band,

and we go to Lausanne and then straight after that we fly to Moscow

and join up with Psychic TV again, so...

So, I get two days without sleep. Lucky me.

So we've done a new album.

It features guest appearances by Nick Zinner from the Yeah Yeah Yeahs.

And Gibby Haynes from the Butthole Surfers.

And Peaches.

So we're... We're, um, expanding and stretching

and experimenting in lots of different ways with different people.

I've always loved the Velvet Underground or the Doors.

And I decided that-that the most honest thing to do at this point in my life

is to immerse myself in the most exciting and most fun situations.

And that is to reclaim my happy memories of the '60s and expand upon them.

It still remains unique,

but it has moments of, um, recognition for the audience.

Things they can hold onto for a while,

and then we lead them somewhere new.

So it's just... It's the same idea in a different way, you know.

Always processing and changing things around

so that people stay alert.

People don't listen.

I've been saying, "Change, change, change, change, change" for all my life.

And yet people don't want me to change.

But I will and I do, and that's the whole point.

That was actually me saying yes.

Yes.

Yeah, yeah, yeah, yeah. Yes.

Yeah, yeah, yeah, yeah. Yes.

Yeah, yeah, yeah, yeah. Yes.

Yeah, yeah, yeah, yeah. Yes.

Yeah, yeah, yeah, yeah. Yes.

So...

...reality is just stuff.

And you perceive it based on what's given to you, so...

Yes.

Yes!

And...

Yeah.

Yeah. Yeah.

Yeah.

Yeah.

Yeah.

It's that simple.

When you break it down, with cut-ups,

you realize that everything's just raw material.

And what we think is there isn't really what's there at all.

Well, my father was a drummer.

Apparently, at the age of about three, four years old,

he played drums at a wedding reception... probably quite badly.

So we grew up very much into rhythm.

We'd listen to jazz records

of Gene Krupa and Buddy Rich doing long drum solos

and then would practice, copying them,

memorize 20-minute drum solos.

Probably from about the age of nine to 11, I took piano lessons.

From the age of 11 to 14, we were in the school choir.

So we grew up reading music really well

and singing from music,

doing all that really complicated harmonies,

which most people don't realize,

that one of the reasons that we use harmonies and different voices so much

is because of that training.

And then the '60s happened, and that opened up a lot of possibilities.

And having heard the first Velvet Underground album,

we really became obsessed

with trying to find a way to get the electric violin.

My girlfriend was angel Jane Ray and she was a concert violinist.

She gave me one of her old violins to mess with,

and we'd stick tape recorder microphones inside it,

and plug it into an old reel-to-reel tape recorder

to use that as the amplifier as well

and started playing violin.

And we've carried one with us across the world ever since,

which, again, nobody seems to have noticed.

With Throbbing Gristle, even if we didn't play it,

we took it to every single concert.

It was always there on the amp in case we were inspired.

We listened to jazz more than anything else,

up until the Rolling Stones and the Velvet Underground,

and then gradually moved across into experimental rock music.

In the '60s, obviously, early Pink Floyd with Syd Barrett.

And some Captain Beefheart.

We were very lucky that the music that we grew up with

took for granted the idea of improvisation.

We were very, very aware

of the idea that one day that one would be lost.

You know how you think: What would people say?

What would they say at the funeral?

What would they remember us for? And what would they say in the obituaries, you know?

Would they still call me "The Tampon Man"?

Or "the most evil man in Britain"?

"Sex monster" and everything else.

And, uh...

Oh, God, I don't want to be remembered as "The Tampon Man."

So, Jaye said, "Well, I don't care about any of that art shit.

I just want to be remembered as one of the great love affairs of all time.

That's it."

It was very weird.

About a week before, we had this strange feeling that something was wrong,

and we went from the bedroom through the apartment to the bathroom,

and Jaye was having a seizure.

As far as we could tell, she died

and somehow she came back.

From that day, for a whole week,

she devoted every second of her waking time

to being as loving and emotional and sexual

and kind as she could be.

And then she, basically, did an exact copy in reverse

of the first day we made love.

Even down to going to the local diner and sitting down and saying,

"Remember how after we made love, we went to the diner and sat down?

Let's go and have breakfast like we did that morning."

And then we came back here and made love.

And she said, "I'm just going to the bathroom to freshen up,

and then I'm gonna come back and suck you dry."

And we must've dozed off.

The minute we woke up, we knew something was really, really wrong.

Then we got up and walked through,

and we found her collapsed in the bathroom again

exactly the same as before.

Only this time we couldn't get her back.

We were trying to do CPR,

and she actually breathed her last breath into my mouth.

♪ And drying, a tree Has no life ♪

♪ Has no meaning ♪

♪ Dying ♪

♪ Is a message ♪

♪ Kiss me ♪

♪ Kiss me ♪

♪ Kiss me ♪

♪ Kiss me ♪

When Lady Jaye dropped her body in 2007,

the whole band obviously were traumatized.

And no one quite knew how to respond.

Do you carry on as if somebody could be replaced?

How could you ever replace Lady Jaye?

That's not possible.

Is there a way to carry on without Lady Jaye that's valid?

Um, and that was a really difficult place for all of us.

When we finally did play together again after six months,

it was what became the last album,

Mr. Alien Brain vs. The Skinwalkers,

which was made for National Public Radio, originally,

as a tribute live concert to Lady Jaye.

Everything was done in one take and became basically a whole album,

which, to me, is still one of the best we've ever done.

But, of course, Jaye is on the album and is in the album.

She's everywhere. She was inside all of us.

So we struggled on valiantly for another tour or so.

But, basically, we stopped playing in Psychic TV

because I was getting sick all the time.

Every time we'd play,

we'd turn around and look in the corner to see where Jaye was,

and she wasn't there, physically.

And it was just too painful for me to keep doing that.

And crying every night when we sang "New York Story" and so on.

There was a lot of joy and celebration too, but it was very painful.

And we're better off if we stop on a high note.

And also 'cause Lady Jaye didn't want me to keep touring.

She was always saying,

"You've got to stop.

We have all these projects to finish.

Being in a rock band... You've done it.

You can't really add anymore to that.

You've done more than enough.

So let's focus our energy on pandrogeny and art and books.

Let's try and make sure that what we've done and what we believed in

is recorded and saved

so that people can at least know what we were trying to do."

Ever since we decided to stop touring...

which isn't to say we won't play, as you know.

We've played with Tony Conrad.

And playing the violin duets with Tony Conrad

is still my favorite musical activity of the moment.

That's something we'd always say yes to.

Something about the way that the two violins work together

is so satisfying for me

that we forget everything except the sound.

And that's how we got drawn in to sound when we were a teenager,

was just the love of sound itself,

whether it be melodical or not.

So Tony's given me this whole new space to work in...

where, because he has no specific rules

and we have no specific rules,

then it truly is pure music in the moment.

Which is actually a very, very rare and very precious thing.

After that, Thee Majesty,

which is a similar thing except with the poetry and Bryin Dall on the guitar.

But the bottom line is the word and the sound and the ideas.

And ideas are what we work with. Ideas are what we try and bring to people.

Jaye always felt that we should move into the books.

And she was right.

It's quite obvious that she's still manipulating

every aspect of my life.

Because the minute she's dropped her body,

we get the deal to do Thee Psychick Bible.

The minute it's done, it sold out.

We're already working on the edit of the first volume of poetry,

the first novel that we wrote in '69,

which was Jaye's favorite piece of my writing, "Mrs. Asquith."

We've been doing more and more art exhibitions,

more and more lectures at universities about pandrogeny.

Everything is... is about creation.

Poor little Gen-Gen. It is Jackie calling.

It might be a little early for you and you might be sleeping.

I hope you're dreaming, and I love you.

And tweet! I love you.

Do you know what? And I love you.

You know what? I love you!

♪ When all the figures Sound retreat ♪

♪ The soft skin Starts to shrivel ♪

♪ When dreams made real Become less sweet ♪

♪ The orchid and the metal ♪

♪ My sex turns And claws rush to spill them ♪

♪ But in the morning After the night ♪

♪ I fall in love With the light ♪

♪ It is so pure I can arrive ♪

♪ Without the fear Of secret lies ♪

♪ Na-na na-na-na-na ♪

♪ Na-na na-na-na-na ♪

♪ Na-na Na-na-na-na ♪

♪ When all the characters Full-size ♪

♪ And every moon is level ♪

♪ When all the spirits Burn in lies ♪

♪ The center pierced by steel ♪

♪ My eyes burn And claws rush to fill them ♪

♪ But in the morning After the night ♪

♪ I fall in love With the light ♪

♪ It is so clear I realize ♪

♪ And now at last I have my eyes ♪

♪ And in the morning After the night ♪

♪ I fall in love With the light ♪

♪ And in the morning After the night ♪

♪ I fall in love With the light ♪

♪ I fall in love With the light ♪

♪ And in the morning After the night ♪

♪ I fall in love With the light ♪

♪ Na-na na-na-na-na ♪

♪ Na-na na-na-na-na ♪

♪ Na-na na-na-na-na ♪

♪ Na-na na-na-na-na ♪

♪ Na-na na-na-na-na ♪

♪ Na-na na-na-na-na ♪

♪ Na-na na-na-na-na ♪

♪ I fall in love With the light ♪

♪ I fall in love With the light ♪

Subtitles by explosiveskull www.OpenSubtitles.org