'I'm a highway child,' he sang, 'so don't deny my name.'

Which was all as it should be.

John Truck licked his lips and bought himself a knickerbocker glory topped with little crystals of tetrahydrocannabinol; he had a look at the audience. They were mostly musicians from other bands, but there was a sprinkling of spacers, who, like John Truck, understood that music had died out in the year 2000 and that the New Music was the old music. Only the winners escape, Truck thought as the old Strat wailed (taking fours with a wholly imaginary wind which nevertheless sent tremors of intent down the backs of his calves and thighs: the port wind, the compass wind). The rest of us get carried by the music. Why not?

There was only one woman in The Spacer's Rave that night. Her name was Angina Seng, and she was looking for John Truck. He wasn't to know it: he could only see her back. Her hair was long and coppery, she held herself with a certain dramatic tension. Her bottom looked nice. So while Tiny Skeffern screwed it out of his glossy, priceless antique for the disconnected, the discontented and the rudderless of the whole duty universe, John Truck fell precipitately in and out of love with her. It was an impartial, on-off passion, for every spaceport lady seen fleetingly in a crowd. He was prone to that sort of thing.

In a hiatus between sets, Tiny brought the Fender over.

'Hello, Truck.'

He bobbed about for a moment, grinning sentimentally; sat down. Truck looked with affection at his bald spot, beaded with sweat.

'Tiny, you play worse and worse. Who's the girl?'

Tiny huffed, wiped his sleeve over the guitar's immaculate white polymer finish. He shrugged. Even when the Strat wasn't plugged in, the stubby, clubbed fingers of his left hand ran up and down the frets like small, undeveloped animals looking for a way out of the wind.