In a parallel universe, this paragraph would have been written in the JFK departures lounge with a bag of disappointing gifts at my feet, a 14-hour flight to Tokyo boarding any minute and a notebook still crackling with the previous day’s electrical discharges from Ryuichi Sakamoto.
I would have arrived early at Té Company in New York’s West Village to bag a table in a tea house described in The New Yorker as one of the city’s most thrilling places to eat: a fitting venue to interview a man whose great contribution to the 1970s and 1980s was to show the world via pioneering electronic pop that Japan was not just an epically ambitious industrial power but also a prodigious hive of cool.
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