I always consider every album to be a snapshot.

People love drama, and if you aren't really interested in perpetuating that, it keeps you from exploding on a mainstream stage. I'm totally fine with that.

Things go wrong when the people who control that world stop listening to their own instincts and start catering to their fan base.

I would rather have 10 people working on a record that are really committed and believe in it and love it, than 50 people who have no idea who I am or what I'm for.

When I first pursued this with Universal, they had no idea what to do. But now that we've gone through the whole process and I've signed this 60-page document that says what we can and can't do, I suppose it will be a little bit easier for the next person.

When I'm representing my music live I think of it very much in a rock band sense. When I first started doing festivals in the 90s there really weren't other DJs playing the stages I was playing. So I felt I was being afforded an opportunity to kind of make a statement about what DJ music can be live. In the 90s, if you were a DJ you were in the dance tent, and you were playing house music and techno music. There was no such thing as a DJ - a solo DJ - on a stage, after a rock band and before another rock band: that just didn't happen.

I'm not going to get on any anti-corporation soapbox to an extreme level.