That was how I got into music and art was being a battle kid from Jersey, so I didn't have these wonderful ways of learning commitment, dedication, practicing skill.

I change my direction, I can't even help it. It's sort of like the fortune and misfortune of being a rapper.

I can deal with all the pangs of having to find money in 20 different places because you don't really reap the whirlwind with this cutting-edge music.

What I remove from my writing is linear context. It's not really important to me, because it doesn't give me chills to see, "you flip the latch and the lock opens and then you can open the top of the chest and inside the chest is this." That doesn't give me chills, to think in that vein. So I've always kind of avoided it.

I wonder a lot about making things meaningful. You want to do meaningful work and make art, but you're making records, which is good, but you don't want to weight them - it's a very curious thing.

Being on stage, it's like, "Ooo-kay, now I remember why all this is going wrong or right!" It's very much my element.

A lot of artists make art for five years, some artists make art for ten years, a few make art for fifteen: very few do it until they die.