I just felt, at the time, a little bit relieved, because I was kinda counting the days: 'Come on! Let's get these records into people's homes - nobody will ever be able to get them all back, and it'll be an artefact out in the world.'

Cutting and pasting is the essence of what hip-hop culture is all about for me. It's about drawing from what's around you, and subverting it and decontextualizing it.

I feel less and less like that every year, and I guess maybe even more so with every new record that I put out. I just think, as the years go by, it's harder and harder to really find a reason to be annoyed that you made something that people want to continuously talk about. Certainly there are contexts in which the record can be discussed which will get me on the defensive and make me want to put some kind of calibration or some kind of context on what the record means in relation to my career as a whole.

I think a band - even a band that's been around as long as the Rolling Stones - I think that's still the formula. You know you're gonna get those songs, and you don't mind sitting through the ones that you maybe don't know very well because you know they're not gonna let you down - they're not gonna mess with you. And I kind of feel the same way about the way I structure my shows.

Any good album title has multiple meanings, and I like choosing titles where I find myself repeating it, almost like a mantra.

Through it all, the words of John Peel echo strongly within me: you have support the music that's being made now. You have to continue to look forward and learn from what's happening. That's my philosophy, anyway.

I was asked to do TV ads for Macintosh. Nowadays, I think anybody would jump at that but, at the time, it didn't feel appropriate for what I was trying to stand for.