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 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 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.

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.

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.

I don't hate what I love. I love what I love and I hate what I hate.

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