My main thing is constantly looking forward and trying to make music that I couldn't have made at any other time.

I got asked to remix a lot of movie themes, like Mission Impossible, which other people ended up doing quite well. But it was just never my thing.

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 play that music live nowadays, there's a lot of things I feel I'd like to do - even things I don't think the audience is aware of, like layering subs underneath the kicks, and layering crisp hats underneath the muddy, trashy hats of the '90s. If I tried to play the music as it was next to my contemporary music, it just sounds like you're closing up half of the sonic spectrum.

The reason why it is that strong, and why HipHop is so inbred, is that there is a very structured wheel, a very definable system on how to get paid in HipHop. Busta Rhymes is someone who took that road and sure enough got paid. As long people like him are allowed to continue to do that it wont change. There is a very specific sound and a very specific attitude, and it changes every year, but as long as you stay in there and keep doing it, and keep narrowing your scope, dressing the rigt ways etc. you get paid.

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.

Like a lot of other DJs, I've been wondering when the first DJ game was going to happen. Somebody even pitched me on their own idea and I thought, "I'm not a video game startup; I don't know what I'm supposed to do with this."