It's a lofty ideal from which Haig, sometimes to his detriment, has never strayed. I don't mind being manipulated to a certain extent in order to get what I want, but in time I want to control everything.' I want to be signed to a major and make a great record that will get radio airplay and be a big hit, then make my own money from that. Not that I wasn't sincere about it at the time.

About not wanting to be commercially successful, suffering for your art and all that. Tellingly, the singer also revealed that he had 'lost a lot of the ideals I had in Josef K.

We've split up, so what? Everybody changes.' We didn't really get on all that well towards the end, so there were no jokes, no happy feeling. Nothing from that period interests me, except maybe Sorry For Laughing. I don't listen to any of those records now. 'I was pretty depressed for a week because it was the end of an era, but after that I was really happy that we'd split, because I could get on with everything I wanted to do. Interviewed by Johnny Waller in Sounds the following year, Paul Haig expressed few regrets. Whatever the truth, one of the Great White Hopes of the post-punk had self-destructed after just one long player, in doing so fulfilling their own brash prophecy.

Fancifully, Postcard boss Alan Horne pointed the finger of blame at the NME. A combination of too-great expectations, too-small financial returns, Haig's dislike of touring, and unspecified disagreements over future direction seem to have killed off the band named after the existential anti-hero of Franz Kafka's The Trial. Touring the album during July and August of 1981, however, the band split after a final show in Glasgow. Together with Orange Juice, Aztec Camera and The Go-Betweens, Josef K were one of several million dollar quartets on Postcard Records, recording five smart singles and an album, The Only Fun In Town.

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