I wonder a lot about making things meaningful. You want to do meaningful work and make art, but you're making records, which is good, but you don't want to weight them - it's a very curious thing.
That was how I got into music and art was being a battle kid from Jersey, so I didn't have these wonderful ways of learning commitment, dedication, practicing skill.
I am not concerned about the 80 BMP consistency law of popular music. I'm concerned with other things, and they're very valid.
I can deal with all the pangs of having to find money in 20 different places because you don't really reap the whirlwind with this cutting-edge music.
I've been writing a lot about just the aspects of luck and being picked, and how of course it's always how one perceives themselves in the world, as a bit of a scapegoat or a bit of a hero. Everyone generally has about a 60/40 split that volleys, between those two.
At best doing art you feel like you're led by something that doesn't involve you.
I've always been aggressive and an underdog, and my dad was worried that I would always be that: constantly seeking inspiration from negativity.
I'd love to sign a contract for the soundtracks to every Wes Anderson movie, you know what I'm saying? Things like that, I have no spots on my conscience about.
Being on stage, it's like, "Ooo-kay, now I remember why all this is going wrong or right!" It's very much my element.
I'm at best on stage. It's one of the only places where I actually can feel like a million bucks.
Whether it's just the career path of doing independent music, being an artist, however you want to pigeon-hole it, it creates a certain type of character.
The reason I can do what I do on stage is because I couldn't fake it.
What I remove from my writing is linear context. It's not really important to me, because it doesn't give me chills to see, "you flip the latch and the lock opens and then you can open the top of the chest and inside the chest is this." That doesn't give me chills, to think in that vein. So I've always kind of avoided it.
You can always find the sample that covers what you're hearing, but barely...it allows me to really concentrate on words.
I change my direction, I can't even help it. It's sort of like the fortune and misfortune of being a rapper.
I'm not the kind of artist that wants to get a sound, refine it, and do it 'til I'm 50 so that it's the purest amber of my one way.
I'm not musically trained and I'm not all these other things. I'm creative with a keyboard and a drum machine, but I can't really make these perfect minimal musical executions - all the things that would be nice with all these refined poems.
I love the inappropriateness of age-old wisdom in modern slang. These things are all so wonderful to me.
With freestyling it's not about "Say something funny!" That has nothing to do with it. It's about becoming quicker on your feet and knowing that your entire day can go into your rap if you're on it.
Recording is a lengthy process, but onstage it's completely different; tape is not running - life is running, and cannot be rewound.
A lot of artists make art for five years, some artists make art for ten years, a few make art for fifteen: very few do it until they die.
I know what love is because I lost it at an early age.
I MAY NOT BE MUCH ELSE IN THIS WORLD BUT I GUARANTEE YOU I AM GETTING INTO RAPPER HEAVEN.
