To be honest, I didn't really get into making music to be an album artist.

I personally feel the need to experience life and new music and ideas before I can sit down and start writing music again.

In certain cases I don't want to sell tracks individually; I want to only sell the whole album. With simple things like that I just don't get any response [from iTunes]. I don't want to kill iTunes - I just want to offer my own retail experience in my own tiny corner of the Internet.

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 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.

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.

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.'