I think when I dropped The Eulogy is when it became more [about] feedback because that's when Pitchfork wanted to review it and things like that.

I want to be respected as a writer and, like I said, I was really sick of people saying I was a two dimensional character. I want more to my legacy, I guess.

There are two singles I did with Noah Breakfast, ["Talkin Greezy" and "New Phone (Who Dis),"] which was a cool experience. So it's cool either way, I think. It depends on the relationship you have with the other person - not everybody is going to work the same way.

I think what's keeping me making music - the money is great, but I make music for the visibility.

Every time someone asks me who I want to work with, my answer is always the same: whoever wants to work with me that won't want to get their ego stroked.

It may look like things have gotten better, because everyone is semi-being appreciative. Not appreciative, but conscious of people being gender fluid and all those things.

Living New York, everyone has a million hustles, so I was doing party promoting, working the doors at parties, doing that whole nightlife thing.