Now awaiting a copy of How I Take Photographs by Daido Moriyama 
(well, by somebody else but about Daido)
Do let me know how it is, I'd be interested in picking that up too. I don't know a lot about him other than that his high contrast B&W photos are some of the best out there in that style and that I like his approach to photography in general (some good videos on youtube of his 'process'... basically just being followed around whilst doing his thing, sure you've seen them).
The influence of him in some of your street stuff is quite clear (in a good way) 
@Infinitely Content I've read this a few times now. There's not a huge amount to read, just five or six short essays/conversations.
It's not filled with his absolute finest work (although I really love the yin/yang feel of the image on the cover, as below, and there's a lot of interesting images in there), but it is recognisably his style and worth having around since it's a cheap little book. It's a fairly small volume and unfortunately it's bound in one of those styles where you feel that if you open the spine enough to look at the two page spread images properly, the pages will start to fall out. It's nice to be able to have one of his books, though (although it's co-written).
He's an interesting bloke - he's not deliberately self-effacing but at the same time he's not over the top with what he's looking for or how he does what he does. I watched a documentary about him where he came across very similar - he's almost the anti-photographer; doesn't think too hard about what he's doing, doesn't feel that photographs can or should be copyrighted, upfront about blasting off thousands and thousands of frames in order to get some good ones. Most of it was a bit of validation for me because his style is very much like my own - if you find it interesting, you should quickly take a picture of it (and that's where having a camera which makes the job easy is so great).
There are a few passages which particularly resonated - not because they were things I wasn't already doing, but more because I hadn't given them the appropriate weight in terms of the way I approach it. This sort of thing:
"I'm a little unorthodox in my views. I've always said that photographers should put aside 'concepts' or 'themes' when they go out on a shoot. Of course I understand that young people want to have a conceptual basis for their work - I was the same way, starting out. But even in my earliest photographs, the collection titled Yokosuka for example, I knew I wanted to take pictures of Yokosuka but I had no agenda - I never thought to myself, 'right, I'm going to explore the political tensions in Yokosuka', or anything like that. I just thought, 'I'll go and shoot some pictures'. I felt no different when I later went to Shinjuku, or Buenos Aires, or Hawaii [...] The photographer should just shoot whatever he observes, using all his senses, and if possible unselectively"
"The only way you can ensure that a shot will ever be at all meaningful is if you take it. Don't think about it too hard before hand, don't be too self-conscious or rational - just press the shutter button. There'll be all the time in the world for other people to come along later and attach whatever implications or 'meaning' they like to it"
It's worth having for the sake of a tenner, but it's not a classic coffee table photography book.
Also made me think, as Asian street photography always does, how much is added to street shots from that part of the world by the way the written language looks. I often wonder to myself whether our witless and terrible adverts plastered all over our otherwise great looking streets look as appealing to eastern street photography eyes as theirs look to ours. I suspect not
There's just something inherently artistic about writing in Asia which we don't have in Europe, ours still looks like Viking runes by comparison alas.
