I always managed to fly a bit below the radar, but high enough to avoid colliding into anything.

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.

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.

I tend to gravitate away from the more trendy Ibiza style of dance music. It's not me.

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

If I have a chance to positively impact how the populace views DJs, then I'm going to try to do my part to nudge things in the right direction.

I would much rather people kick and scream and tear their hair out and accuse me of all kinds of blasphemy, than just have no opinion whatsoever.