So, in addition to being a full-time father of two and everything else in life, it isn't so much that I'm sitting around plotting an album. I just kinda follow my muse and wherever my interests lie, and at some point I decide, "Right. It's been a while, time to figure out how to get serious and make some music."

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 always consider every album to be a snapshot.

When I play that music live nowadays, there's a lot of things I feel I'd like to do - even things I don't think the audience is aware of, like layering subs underneath the kicks, and layering crisp hats underneath the muddy, trashy hats of the '90s. If I tried to play the music as it was next to my contemporary music, it just sounds like you're closing up half of the sonic spectrum.

As far as the mechanics of how the music was made, there's no denying: Endtroducing was extremely simple. That's not to denigrate it - that doesn't mean I'm knocking it or I'm saying my new stuff is better, or anything like that: it just means, I literally had, what, 12.5 seconds of stereo sampling at my disposal, and some turntable overdubs... The nature of the beast back then was probably about 50% looping and 50% chopping, and that was what you could do with samples.

I got asked to remix a lot of movie themes, like Mission Impossible, which other people ended up doing quite well. But it was just never my thing.

When I'm looking for DJ sets and stuff to drop, I look for music that I feel is gonna get the reaction I want from the crowd.