When I think back, I felt like I had the life that a lot of white American kids grew up with in the suburbs in the States. I started noticing, as Apartheid's grip weakened, that we had more and more black kids at school; I had more and more black friends. But I never really saw a separation between myself and the black kids at school.

As I got older, my ambitions changed and I wanted to be a graphic designer. In form five, I did Art for CXC and got a grade 2 at the general proficiency level. I was devastated because I was aspiring for a grade 1. I took a break from art when I went to A level because I could not cope with the disappointment of my Grade 2. But I guess when you love doing something you just can't turn you back on it completely.

The moment you're too apologetic about something and people know that something isn't finished, they listen/look for the mistakes or cracks, but if you act like it's done people experience things in a totally different way.

Most of the writing that I do is a complete train of thought process. I'll just be walking down the street or sitting on the toilet or whatever and something will pop into my head and I'll record it on my phone and then over the next little while it'll develop a little more in my head.

I had this perfect situation where my studio was a three-minute walk away, and every day I would go to the studio. If I had an idea, I could work on it at the highest level possible.

When I was developing St. Lucia - around 2008, 2009, at the peak of Pitchfork culture - what was considered cool was being as alienating to your audience as possible.

[My mother] was the one who encouraged me constantly and always reminded me that God gave me a talent and I have to use it. I should not keep it locked inside.