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 don't care if I get kicked out of every rich kid club on the planet. I will never sacrifice my integrity as a DJ...ever.

There are a lot of music startups that don't have anything to do with anyone's love for music. It has to do with them having a glorious IPO and then retiring to the Bahamas somewhere. It's important to keep that in mind.

I've been on a major label for 14 years. I've always wanted as many people as possible to hear my music, and it definitely made sense for the majority of my career to be on a major label, on a distribution level, to be in people's faces and be out there, and have access to major labels' incredible machine, even though they have not understood or haven't been invested in what I was doing.

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 couldn't make a real drum'n'bass or dubstep record to save my life. But I can be influenced by them in small ways.

I was asked to do TV ads for Macintosh. Nowadays, I think anybody would jump at that but, at the time, it didn't feel appropriate for what I was trying to stand for.