I tried to keep them apart. I really did. But Punk was inevitably subsumed by Funk in the mid 1970s for this seminal Sex Pistols original who worked in Vivienne Westwood's World's End Chelsea shop SEX. That is, until the tax inspectors arrived, Vivienne panicked, and I had to pretend to be a punter for as long as they were on the premises. I was also the one who got arrested for wearing that iconic naked cowboy T-shirt in my most famous 1976 headline grabbing moment. And if I had a pound for every time I've seen those pictures of me, Steve Jones, Vivienne, Jordan, future Pretenders band leader and Chrissie Hynde modelling Vivienne's latest swanky modes, posed for the June 1976 pocket erotica magazine 'Forum', well, I wouldn't ever have had to work again. As much as Punk's free spirit and rebellious nature matched my own coming-of-age in those fabulous sea-changing times, I always held on to my inner Disco Queen that surfaced in 1973 when I first heard Love's Theme by the Love Unlimited Orchestra at Studio One in Los Angeles. Much as I loved Johnny Rotten angrily barking hot-button lyrics backed by the snarling Pistols' dynamic presence, I also adored the glamour-drenched Broadway style glitz of The Salsoul Orchestra, anything on the Casablanca Records label and every Disco Diva from Penny McLean and Madleen Kane to Linda Clifford and Marlena Shaw.

Nobody could understand that at the time; music genres back then were very clearly defined and pigeonholed. I found myself in the weirdest position around this time. Championing the Pistols' ground zero sound, which many said was tuneless noise, while defending Disco's hypnotic thumping for practically the same reasons. In many ways my infamous DJ gig for the Pistols at the equally memorable El Paradise strip club event in Soho should have marked my exit from their favoured inner circle. It didn't, mainly because I was one of their first supporters, who fed them during my nightshifts at the Portobello Hotel, the watering hole of the rich and famous back then. I consider myself lucky in having had one foot firmly in each music strand characterising extreme sides of the same amazing era. Punk and Disco continue to impact on the music scene. Any regrets about worshipping at the dual hymn altars society then so despised? Just one.

I wish I could have seen Rotten's face and said "I told you so" when he finally realised I Will Survive would become equally important historically as Anarchy in the U.K. (1976).