I realized that people don't quite understand what I do when I was the new kid on the block and a lot of Hollywood was offering me fairly cheesy projects.

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

I've always been compared to people. It's a revolving cast that comes and goes - obviously, sometimes people stay.

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.

If I wanted to contribute to the hyphy movement, what good is it making a hyphy record that isn't embraced by that community?

If I have a chance to positively impact how the populace views DJs, then I'm going to try to do my part to nudge things in the right direction.

Incidentally, the very, very first review that James Lavelle and I saw of Endtroducing was very negative! It was in The Wire, and the context of the review was that, you know, Mo'Wax was so far behind Ninja Tune. Heheheh. And people wonder why there was this sense of a feud between labels! We just kind of looked at each other and we were like, 'Oh, well, let the floodgates open!' But, not to be facile, that was literally the last bad review I ever saw for that album.