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.

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.

Let's face it, we're all clones nowadays. We've all got the same archives, we've all got the same Hyundai, we've all got the same Mac or PC components, and we're all being told the same news stories globally.

When you're in the studio, you've got a narrative for what goes on, you might switch on a bit of gear and it might not work as you intended or come out a bit wrong, and you try and exploit it.

I know Im not going to book everything I go in on, and thats just the nature of the business. You have to keep hustling and not get down on it. You have to keep at it and find your way in. Everybodys story is 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.

Your reputation is what influences people to think, feel and talk about you the way they do.