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.'

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.

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

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.

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.

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.

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.