After that, I worked at Cobb’s Hall in Hammersmith, which wasn’t a place for a suit or trilby. I was on the front desk, or the front line as I came to think of it, for a building full of social workers. A lot of their clients were mental health patients, a good portion of them schizophrenics, who came in to get their injections to offset their psychosis. I won’t pretend to understand what went on in the clinic or what disorders some of the people were struggling with, but I was pretty much the first face they saw when they came in. So I had people who were overdue their injections, very interesting people, very angry people, some telling me they’re the Son of God and they need to kill me, and there’s no security. Just me sitting there in splendid isolation. I had a little black alarm cord that, when you pulled it, made a sound that I can only describe as inoffensive, and that was my only protection. All for £5 an hour. I never got hurt, although came close to it, but there was an impreciseness to their plans, so when they loomed up it wasn’t too difficult to get out of the way. In quieter moments I used to go through the computer system and see who was on file. I found a few people I knew.
Far more pleasant were the three years I spent off and on as an usher in London’s theatres. The job excited me if only because it let me in on the periphery of the glittering world I’d imagined London to be. I was still outside its walls, but I could finally see in at the windows. Before I moved to London, I’d get home from a day trip to the West End, turn on the TV and there was the city again, and it seemed fantastic to me that I’d been somewhere that was on the box, that it actually existed. When I moved there, I’d go back to places again and again, and remember standing in the cobbled square in Covent Garden early one morning with a light mist on the streets and no one around. I fancied I heard the flower market starting up across the way, blooms brought on trestle tables. I imagined Oscar Wilde, the comings and goings of My Fair Lady, I romanticized it out of all proportion and it took me a long time to realize that it was a modern-day tourist trap. When I was working at the theatres I used to go down to the Piazza in my lunch hours and watch the performers, and I’d see people in sleeping bags waiting to perform for the tourists and people a little too drunk for lunchtime, and I realized that the only place that the romantic Covent Garden lived on in was in the hearts of people like me. And, little by little, the lustre faded. The world inside the theatre, however, still held some magic, and I particularly liked working at the Old Vic. It was near my spiritual home of Waterloo – the portal to this new world for a country boy like me – and I loved its tradition and its history; it signified something and felt real to me. I had one pair of blue trousers and a horrible matching waistcoat that I wore for all my theatre work; the trousers were a pair of flares that were so worn that they shone. They never got washed because I had nowhere to wash them, and at one point I had impetigo on my legs that I couldn’t help rubbing, and the trousers eventually blended with the scab. But those trousers carried me through, from my initial days among shadowy aisles pointing patrons to their seats to the day our Rough Trade deal finally allowed me to fold them neatly along their thinning creases and put them away for good.
That might make everything sound very purposeful, but the truth was that I didn’t have any sense of where we were going while I was at the Old Vic, though Peter and I were increasingly inseparable and working more and more intensely on our lyrics. Peter was always very optimistic but somehow – and this is probably indicative of the insecurities that would dog me all the way through my performing career – I never thought I’d make it in a band. For me, it was an impenetrable world, and playing in front of a small audience was already intimidating enough. Peter’s attitude was different: We can do this, you can be that. He was full of faith, life and vitality, and that sustained me; it was a real part of the magic of the time. Peter surprised me at work at the Old Vic one night, when we were meant to be rehearsing but I’d taken the paying job instead. Separate worlds – music and theatre – colliding momentarily, almost causing one to spin helplessly out of orbit. I was in my trusty trousers, probably gleaming in the theatre lights, serving a platter of vol-au-vents as part of a reception for Marcel Marceau. It was an after-show as far as I can remember – as much as great mime artists have after-shows, anyway. Then Peter just appeared, lumbering into sight, red-faced with tears in his eyes. I can’t imagine what the guests must have thought as a stranger button-holed one of the waiters, and the quiet of the theatre bar is shattered as he screams: ‘What are you doing here? Can’t you see these people are cunts? We’re meant to be writing songs!’
The room screeched to a halt, a hundred heads turning towards us, now centre stage in the encroaching silence. I was livid. How I kept my job there is still a mystery.
As well as the Old Vic, I did stints at the Aldwych, the Apollo and the Lyric. Ushering is a funny job, mostly populated by hopeful actors and musicians, a lot of whom fall by the wayside and get stuck in that routine. The idea is that it’ll subsidize your earnings and allow you to pursue your dreams during the daylight hours, but the reality is that you all end up going to the same cliquey bars after the show, spend all your money and then sleep all day. Many people get stuck in that for years. It wasn’t entirely without merit: I got to meet Harold Pinter and Michael Gambon, an impressive man who seemed to have a glow about him. I even had a chance to speak with him too, and he gave me some advice.
‘What is your purpose?’ he asked.
I mumbled something about going to drama school, breaking into acting – I was still very young and shy – and he looked me directly in the eye and said: ‘Don’t worry about that bullshit, just lie. I got an agent on the strength of saying I did this thing at the Old Vic and it was a total lie.’ He was quite encouraging, and pleasingly unprincipled, too, as far as I could tell.
∗ ∗ ∗
For a short while we called the band The Strand, principally because, during my breaks as an usher at the Aldwych Theatre I used to walk up and down the Strand wondering when it was I would be randomly offered a part in a film or even to be scouted to be a model. Those were the kind of dumb things I’d sometimes do. London for me back then was limitless, and I was naïve and silly. I just assumed that there was a chance anyone could make it, get lucky. Funnily enough, it never happened like that, but the band name stuck for a period, one of our many awful names, along with The Cricketers and The Sallys. Then I suggested The Libertines: we’d had a well-thumbed copy of the Marquis de Sade’s Lusts of the Libertines floating around the band for as long as I could remember. That name was, briefly, rejected, though I can’t imagine why: none of us was particularly enamoured with the idea of being called The Sallys or The Strand.