Frequently, when I'm compared to someone, I'm like, "Is that really what people think I sound like?"

Anything that sparks some eight-year-old's interest in music or DJing is great.

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.

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.

I've tried to tell people that the reason I don't really get excited over good press is that I don't want to get agitated over bad press. I don't wanna get too high on good press, too low on bad press. It's just not a healthy way to engage with my own feelings about my music.

The story I always recite - and have had to recite so many times over the years to different lawyers and different people within Universal - is that the business end of Mo'Wax was basically, like, 'Give us the big ones samples first, and we'll see how we get on.' And I gave them the six or seven that were, to me, the ones that were the scariest, and the biggest use. It wasn't about the big names, necessarily - although that played into it a bit, with people like Bjork and Metallica.

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