I feel like you're being coy if you don't do something and celebrate the 20th or 25th anniversary in some way. Just as I've never, ever had any kind of embargo on playing songs from Endtroducing, no matter how much I wanted people to like my new stuff - I've never, ever stopped playing Endtroducing, for that reason as well. It's a give and take - it's a balance. If there's one theme, I guess, to this entire discussion, then it's that.

When I'm representing my music live I think of it very much in a rock band sense. When I first started doing festivals in the 90s there really weren't other DJs playing the stages I was playing. So I felt I was being afforded an opportunity to kind of make a statement about what DJ music can be live. In the 90s, if you were a DJ you were in the dance tent, and you were playing house music and techno music. There was no such thing as a DJ - a solo DJ - on a stage, after a rock band and before another rock band: that just didn't happen.

As far as the mechanics of how the music was made, there's no denying: Endtroducing was extremely simple. That's not to denigrate it - that doesn't mean I'm knocking it or I'm saying my new stuff is better, or anything like that: it just means, I literally had, what, 12.5 seconds of stereo sampling at my disposal, and some turntable overdubs... The nature of the beast back then was probably about 50% looping and 50% chopping, and that was what you could do with samples.

I'm not going to get on any anti-corporation soapbox to an extreme level.

My core values are still the same about music, and my work ethic, and what I want to represent to people.

So, in addition to being a full-time father of two and everything else in life, it isn't so much that I'm sitting around plotting an album. I just kinda follow my muse and wherever my interests lie, and at some point I decide, "Right. It's been a while, time to figure out how to get serious and make some music."

My problem with iTunes is that I don't have any say in how I'm represented on the site.