While Dave was finding his feet, Roger and I started writing. We both 

realised we couldn’t writing like Syd. I say we had to chage direction, but maybe Roger and I did try to continue with that style of writing. But we clearly couldn’t compete lyrically (but) I think Roger and I tried to replace the kind of songs Syd cold write but soon found out that we couldn’t manage it

I think Roger and I tried to replace the kind of songs Syd would write 

but soon found out that we couldn’t quite manager it

Through these songs I learned I wasn't a lyric writer

I realised I wanted to be closer to the centre of things musically

I had no idea I would ever write songs. I’d always been told at school 

I was bloody hopeless at everything 

«What was the distribution of personalities in the group? 

Roger, yes, definitely. And then everybody else, depending on the moment

(…) For about four years we had a great relationship (with David). 

Especially between 1968, when he joined the band and «Dark Side of The 

Moon». We were a nice pair, and then five years past. But it was the same for all the Floyd members. We had exactly defined goals and were working hard. That's why we became such a fantastic band and wrote great songs.

We rarely used to see each other socially, although I used to get on with 

Nick Mason alright. For a limited time, in the early days of the group, 

we did mix socially. Because there is something rather appealing about a group together on the road. But that soon palls. And things like families make sure that cycle comes to an end

hey were always trying to drag me down. They were trying 

to knock me off of whatever perch I was on

My memory is David and Rick were at great pains to point out how I couldn’t sing and how I was tone-deaf

Roger had developed his own limited, or very simple style. He was never 

very keen on improving himself as a bass player and half the time I would play the bass on the records because I would tend to do it quicker (…) I mean, at least half the bass on all the recorded output is me anyway. Rog used to come in and say "Thank you very much" to me once in a while for winning him bass-playing polls 

I might still have been shy then, but Roger had certainly taken to leaping 

around, thrashing his bass and gurning a bit. Then there was the dramatic striking of the gong and the screaming in Careful With That Axe. Roger had discovered letting his pain out. I know that John Lennon did that whole Arthur 'Primal Scream' Janov album, which Roger was very keen on, but he was screaming long before Lennon ever got to Janov

(But we) were never a jolly bunch of friends. Things between the 

four of us were always pretty rocky

Roger was the guy that had the ideas and concepts. I was the better 

musician. We recognised each other’s strengths and weaknesses

I’m slightly flabbergasted by that quote. I think that’s a slightly over emotional way of putting that there was some sort of division in the band… But, I don’t think they were mean to him, particularly. It’s hard to imagine being mean to Roger! … Stalin was bullied !

There’s this bollocks that Rick had to tune my bass. And you only have 

to look at the body of work to realize that this is not the case. Maybe their

 way of keeping me from being totally overwhelming was to point out that I might have vocal and instrumental inadequacies

The working relationship I had with Dave and Nick and even Rick to 

a certain extent up to and including Dark Side of the Moon was very 

exciting and interesting and worthwhile, but after that it became very problematic. We'd done everything we had set out to do, and we kind of clung together from that point on in a very uneasy marriage because of the name, because it was easy, and we'd created an enormous audience

At that moment, we all had the same objectives. As for those deeper philosophical and political differences, you just stick ’em on the side at that point in your life. The collective ambition is more important. Until, of course, everyone reverts to type 

The relationships in Pink Floyd were always very complex. The band was 

like a marriage - with multiple husbands (…). The first five years it worked. More or less