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.

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.

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.

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.

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.

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.

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.'