I love when things bend out of shape. That's why I love drum and bass music.

A lot of people at my school could play the "Stairway to Heaven" guitar solo, but they couldn't play three chords of a Ramones song if their life depended on it because they didn't have the strength or ability to do it. But all I did was practice that, and the style that I eventually fell into is more focused than people would actually imagine.

Ownership and control is important, because if you don't own what you do, all sorts of stupid stuff happens to it, and people spend good money on garbage.

I do need to loosen up a bit, and that usually does come with old age. That's the intention.

In reality, there's a limit to putting a record out yourself. When it comes to working with major record companies in the context of them owning anything, though, that will never happen. Ever. In my life.

The technical reason why remastering is valuable is because, up to around the late 90s, there was this endpoint called zero, and you couldn't get louder than zero.

I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general. I always had a fascination with that sound. It's a mixture of the idea that something could be going wrong along with the idea of bending constrained, Westernized music out of tune. But because I wasn't copying an idea, and it just came from somewhere inside me, it felt like a birth of something that most people didn't understand at the time.