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.

If you think of any long-term artist that makes music throughout several decades, you would hope that it's autobiographical and a form of self-expression, and that's certainly how I approach my music.

I feel less and less like that every year, and I guess maybe even more so with every new record that I put out. I just think, as the years go by, it's harder and harder to really find a reason to be annoyed that you made something that people want to continuously talk about. Certainly there are contexts in which the record can be discussed which will get me on the defensive and make me want to put some kind of calibration or some kind of context on what the record means in relation to my career as a whole.

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 realized that people don't quite understand what I do when I was the new kid on the block and a lot of Hollywood was offering me fairly cheesy projects.

I always like to remain a fan, put it that way: and I like to hold the idealised version of what these artists are like. Greed is one of those components of human nature that's inherent in everyone, and sometimes it is an unpleasant thing to engage in.

Everything right now tends to be the same and very aggressive, and I think people are getting a little burned out on it.