Well, I just bought a massive bank and I've moved into it on my own.
It's quite similar to guitar solos, only with programming you have to use your brain. The most important thing is that it should have some emotional effect on me, rather than just, 'Oh, that's really clever.'
If it takes you three years to set up a studio, and you've made one track with that setup, then the logical thing to do is not change anything and just do another one using the same set of sounds.
I'm a quite erratic person: From setups to actually when I'm doing a track, it's just turning and switching and changing all the time.
My filing system's really crap because I can never decide whether to sort things by studio, or year, or where I lived.
I've always got to change something. All the tracks I've done in the last five years were made in like six different studios. It gets a bit complicated.
In America, it's quite admirable if someone's done well or been successful at whatever it is. Whereas in Britain, they're not. They only like it when you're the underdog.
The holy grail for a music fan, I think, is to hear music from another planet, which has not been influenced by us whatsoever.
I got a feeling I had loads when I was in primary school, 'cause I had red hair; you know, like Duracell.
I used to love jungle. I still think it's the ultimate genre, really, because the people making it weren't musicians.
It's only interesting when you're from somewhere else, like America or Japan. The further away the more interesting it is.
I'm a really good hacker, but I'm not a sensible person.
I used to make up names when I used to catalog my stuff.
You can't rely on the fact that people know you. At Glastonbury, when they all knew I was DJing, everyone was cheering even though they'd never heard some of the tracks I was playing before.
If you've got a stick hitting a drum and you're programming it on a computer, it's so much more interesting than a sample playing back - it's something in the air, that's the magical ingredient.
Because I've been making music and releasing it for so long, I've got that production-line thing in my brain: I can't do anything new until the last one's out.
That's just globalization. It's got good sides as well. But scenes aren't allowed to develop on their own anymore. Everyone knows about everything.
I'm trying to work out more ways to involve my children, because the way I do stuff is so anti-kid, it's really boring. It's not fun. It is to me, but not to them, because they don't even know what I'm doing.
In Britain, it's good for me to be anonymous, because they just think it's a nobody. "Who is this guy?"
