Sometimes there's this balance: if you try to clear 10 things you'll probably get lucky and be able to clear most of them, or all of them; try to clear 20 things, in my mind there's gonna be at least one issue, maybe two - and then that's when it starts getting into either re-recording stuff, or you've got to take that song off.

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.

It's satisfying to put out new music. And I think that's the context in which I'm comfortable revisiting things from the past.

Frequently, when I'm compared to someone, I'm like, "Is that really what people think I sound like?"

I always managed to fly a bit below the radar, but high enough to avoid colliding into anything.

I remember when the big shift happened in 1996-97, when suddenly it dawned on the music community: 'We should license our music to commercials and sell out for all intents and purposes. It doesn't really matter.'

You can be a great DJ and still be not very good at DJ Hero. And vice-versa: You can have never spun in your life on real turntables and be fine on DJ Hero.