I get called "ISIS" now. Why don't we have a name-and-shame weapons dealership website? Instead, we're like, "Oh my God, are you really talking about the refugees again, making yourself into a caricature?" And it's like, "Until you stop the person in your country who's making billions of dollars from selling weapons, yeah, I have to talk about refugees." Whatever I say will get twisted or messed with.

Culturally, I found myself in a very weird situation: you were the person that had made that journey to the West, and then you were going back to comment on something, and then suddenly you were questioned and told, "You can't touch that now because you're a pop star."

In England right now you're not good enough until you get validated.

I think I have to expand my creativity a bit, because it's difficult for critics to be, "Oh, this person writes their own lyrics and sometimes writes their own beats and sometimes makes her own videos." They funnel me through, "Oh, is it as good as blah-blah's record, which has had 50 million writers on it?"

When I came to England in '86, my first week of school was terrible because I would put my hand up to answer things, and no one would choose me because they couldn't say my name.

I think when something becomes a comfortable genre, it's against what street art stood for in the beginning - breaking out of genres and taking art out of galleries. Now street art is in the gallery, and it's all made up into a nice, packaged concept.

I come from a generation where you put the art out and had the luxury to sit back and watch the world deconstruct it, and that was valued. Unfortunately now the work lives in a weird context.