I know that there's a lot of room to maneuver in those kind of ghostly musical spheres.

I realize Im an ambitious guy, but I just try to take things as they come, you know, for the most part.

You can't go back and edit during the live set in the club. In the studio it's different.

When you work on a computer in the studio, it's almost like fossilizing on the spot, you know, the idea of getting solidified on the spot, like a snowflake might create branches by accumulation.

You can sit in front of a computer and have a blank slate and be completely overwhelmed by the possibilities and not get anywhere.

I get nostalgic for things that didn't really exist. I might have a cassette from the first time a Melle Mel track, say, got played on radio in Manchester. And it might be a copy of a copy of a copy of a tape and there's all these weird nuances and distortions that have affected what I know as the truth, if you like, of that track.

To me, an untrained ear, a young person at the time, I would hear off the different feels, all these different sounds, and then years later realize that everyone had used the same equipment, just to their own ends.