Because I've been making music and releasing it for so long, I've got that production-line thing in my brain: I can't do anything new until the last one's out.

You can't rely on the fact that people know you. At Glastonbury, when they all knew I was DJing, everyone was cheering even though they'd never heard some of the tracks I was playing before.

It's only interesting when you're from somewhere else, like America or Japan. The further away the more interesting it is.

I've always got to change something. All the tracks I've done in the last five years were made in like six different studios. It gets a bit complicated.

I used to make up names when I used to catalog my stuff.

Forget all the equipment, forget the music, at the end of the day it's just literally frequencies and their effects on your brain. That's what's everyone's essentially after.

When I look at commercial studios, I think, "Oh, they're all so nice and tidy," but it's because they don't actually write music in them.