Superferric

I have recently been decluttering at a rate that would give Michael Landy a run for his money. Some of it is an attempt to bring order to a life that feels increasingly chaotic, but I'm also increasingly aware that many of my possessions are neither beautiful or useful.

I have been particularly brutal with my books, but I have no regrets. I spent the first ten years of my bookselling career gratefully accepting every proof copy that came my way, but only read a handful. The remainder - a collection of novels that were described by their publisher as 'lyrical' - served as a salutory reminder of the fate that awaits most first-time authors.

(Bloomsbury used to be very good at taking a punt on a new or unknown author and I read two proofs of novels that I was certain would be shortlisted for the Booker Prize. Both failed miserably and a year later, one of the authors committed suicide)

After a few days, I had boxes full of books and ephemera - ready for the charity shops of Lewes. I also had a dozen bin bags to take to the dump, several of which rattled with video tapes. However, there was one conspicuous absence: cassettes.

For me, a TDK C-90 cassette is the equivalent of Proust's madeleines. The one at the top, with its Compact Cassette logo, the enigmatic promise of Normal Bias and the boxes to tick for noise reduction, evokes a lost world of 'radio cassette recorders', 'solid state' microphones and 'Dolby'.

As an adolescent, I was obsessed with audio cassettes. Being able to tape programmes and songs was wonderful, but the real miracle was having the freedom to make my own recordings. Sadly, my parents didn't share my enthusiasm and regarded cassettes as an unnecessary luxury. As a result, I often had to tape over beloved recordings.

Occasionally my parents would relent and return from Kingston market with cassettes made by companies with names like Bentronic or Wangui - five for a pound. Sadly, they would always produce recordings that sounded as if they had been made underwater.

After a brush with the charlatans, I insisted that my cassettes had to be either TDK or BASF (whose chrome tapes were superior to the superferric, but were alleged to wear away the tape heads).

Judging by the number of Boots C-60s in my collection, I wasn't entirely successful.

My parents were baffled by my obsession with blank cassette tapes, but what they failed to see was that each one offered the potential to make the interior world more tangible. If I play one of my old C-90s now, I can hear an aural montage of the things that preoccupied me as a teenager.

Quite why I wanted to record the switchover of Radio Four from medium to long wave is beyond me. I also wonder why I taped the theme tune of David Bellamy's Australian wildlife series 'Up a Gum Tree'. But the beauty of these recordings is that they manage to evoke the past far more potently than any photograph.

In a recording of a BBC programme - made by placing a microphone in front of a television - my parents' telephone rings, our dog barks and somebody rings the doorbell. I remember being infuriated, but today, it is these extraneous noises that make the recording so evocative.

When I searched through my drawer of cassettes, I found comedy tapes that I'd recorded with friends, attempts at 'radiophonic' sound effects, embarrassing teenage conversations about the meaning of life and some music I'd written for fringe plays. I couldn't throw them away.

After deciding that I had to keep my tapes, I realised that I had nothing to play them on.

£20 later, a new Walkman arrived in the post and I started sorting through my tape collection. Revisiting the past is always a bittersweet experience, but these days I feel kinder towards my adolescent self.

At one point, when I heard an impression of Pope John Paul II that I'd spent weeks perfecting, I even laughed.