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.

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

In certain cases I don't want to sell tracks individually; I want to only sell the whole album. With simple things like that I just don't get any response [from iTunes]. I don't want to kill iTunes - I just want to offer my own retail experience in my own tiny corner of the Internet.

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.

If I wanted to contribute to the hyphy movement, what good is it making a hyphy record that isn't embraced by that community?

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

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.