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.

And music is kind of a - it's like a finicky industry to be in of course. Like, tastes change. You're hot one minute; you're not - you know, I've been through it quite a few times, like, on both sides of it.

I think that where it came from and the initial birth of it - it did come out of a jam at Bruno's studio, you know? He was playing drums. And Jeff Bhasker, who co-produced the record with us, is on synths, and I was playing bass.

And then, also, when you're doing something that doesn't sound like anything else on the radio at the time, you almost need to, like, ironclad it to make sure it gets through, you know?

So when I was working with Amy Winehouse on "Back To Black," you know, she had all these beautiful songs, incredibly well-written and just her on an acoustic, nylon-string guitar. And she'd play them for me, and then I would kind of drum up my idea of what I thought - make a demo with what I thought the drums should be doing, the guitars - like, quite a crude demo.

I guess the best thing about having a successful record like this is, like, I know I'm at least good for another five years, like, before everyone starts to like - all the haters start to come out again. And that's really what it is.

And sometimes, I'd be allowed to be hanging out in the studio, which I just loved kind of, like, being in the room with these big recording desks, with all these, like, buttons and knobs and watching the guys use them.