I was asked to do TV ads for Macintosh. Nowadays, I think anybody would jump at that but, at the time, it didn't feel appropriate for what I was trying to stand for.

When I first pursued this with Universal, they had no idea what to do. But now that we've gone through the whole process and I've signed this 60-page document that says what we can and can't do, I suppose it will be a little bit easier for the next person.

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.

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 think a band - even a band that's been around as long as the Rolling Stones - I think that's still the formula. You know you're gonna get those songs, and you don't mind sitting through the ones that you maybe don't know very well because you know they're not gonna let you down - they're not gonna mess with you. And I kind of feel the same way about the way I structure my shows.

People love drama, and if you aren't really interested in perpetuating that, it keeps you from exploding on a mainstream stage. I'm totally fine with that.

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.