I really want it to have an impact on the world. I want to be in a town on the other side of the world, and somebody walks up and says, 'That music you made in Glasgow, I listened to it every day, and it moved me.'

I want to change and try new ideas - allowing your sonic identity to evolve in your music and not being afraid of that. You see musicians hit upon something that works, and then go, "Let's keep doing that for 10 years." And that idea kind of terrifies me a little bit. It becomes like a day job then.

Of course, there's a certain type of person who feels that anything which becomes mainstream has to be rejected immediately. And that's part of the indie-alternative snobbery and hierarchy and elitism.

Music should be universal. My life perspective, my lifestyle - I'm not going to impose that on the people that listen to my music. That's kind of a perverse form of snobbery I like to reject.

It's easy to be lazy when there's food lying around backstage or there's a fast-food joint a couple blocks away. But if you walk a little further, ask around a bit, of course there are exciting things to discover.

Although they might not admit it, I think girls are very aware of the impact that they're having. But they never feel it themselves, and it's impossible to explain. It's like trying to tell a blind person what yellow is.

I didn't grasp the basic principle of being a promoter, which was: Put on music but also generate an income. I was on the dole most of the time.