If there is a record I don't have, I haven't heard it yet. My collection is always growing, but I can't really play it anywhere - no promoter is willing to pay for my crates of vinyl to fly with me, so I have a team of people to digitise it all.

I developed the Clock Theory to help me time records; you know, spin the record back two revolutions or whatever and then play the break, spin the other one back two, play, like that.

The type of mixing that was out then was blending from one record to the next or waiting for the record to go off and wait for the jock to put the needle back on.

All you have to know is mathematically how many times to scratch it and when to let it go - when certain things will enhance the record you're listening to.

Selling out is doing something you don't really want to do for money. That's what selling out is.

The first four years of my career, I never complained. I never demanded. I never said anything about money.

Writing became an obsessive compulsive habit but I had almost no money so I thought about being an urban firefighter and having lots of free time in which to write or becoming an English teacher and thinking about books and writers on a daily basis. That swayed me.

As artists, we are blessed to be able to make money but, on the same note, are held accountable for our federal tax obligations just like everyone else.