DJing is an art that I have the utmost respect for, and I've been practising it since I was 17 years old. Doing Tom Cruise wedding-type things becomes the focal point of every interview, and you realize that you have to cut it out if you don't want to be answering questions about that.

Stevie Wonder doing 'We Can Work It Out' by the Beatles is one of my favorite records of all time.

You know, that was the first time [with Any Winehouse] that I probably ever used a baritone sax. And it's certainly the texture that, you know - it's all over the record 'cause it's a nice compliment to her tone.

Kids can make fun of you for having the wrong shoelaces: that's just kids. But I don't think I had any trouble making friends.

Being a die-hard Knicks fan, I remember hunting down these orange-and-blue Nikes that they only released in England. And I used to hunt for sneakers when I DJ'd in Japan. But then Nike flooded the market with a head-spinning array of color combinations and it just didn't seem cool anymore.

It's like every time you have one of these, you're sort of - your lease is renewed another five years. And that's kind of great for me 'cause that's all I really want to be doing still at this point, like just making records and getting to work with, like, artists that I think are exciting.

Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.