Obviously, selling out is an issue but it's almost like an uncanny valley where you can be pretty unpopular for a while but you'll have die-hard fans that love you. Then as you get more popular, it'll be great and people will be excited for you and then you get to this middle-level popularity and people are like, "Oh, you're not famous but you're also not - we know who you are." You're just this like hideous disfigured music.

When music becomes a job, you all of a sudden have other jobs and you become like a manager of time. If you have no ability to do that, your job gets very hard very quickly.

Finishing a song is definitely the hardest part. It's, you know, you can polish it forever and then whittle it down into something it wasn't and be like, "I need to build it back up," which is why some tracks have 400 versions. But I guess you know when it's done when...I have a maximalist approach to sound when I can't find any more space to put new sounds.

I don't think there's anything wrong in being an entertainer because if at the end of the day people want to forget about their problems or to process their problems through something joyous, I think that's ultimately what my role in this is.

You can have a table full of gourmet food, but the minute you put a box of Entenmann's doughnuts out, that's all people are gonna talk about.

I think as this generation of electronic musicians goes on, popular electronic music will be more and more accepted. It's gonna get less confusing. You know, most people called rap stupid when it started, and it was one of the most innovative music forms of its time.

I'm often just writing just to write. I'm not writing with...If I write, like, sitting down with a goal in mind, it's always, like, the worst. It turns into a ska song even if I'm trying to write like a horror movie sound track or something.