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.

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

There's not much room for deviation, yet if you manage to crack it, there then you can express things that actually do sound unique and genuinely original.

The last time I saw this many doctors was in 1982 at the NFL Combine. They flew me in, put me in a nice hotel and took great care of me. All you have to do is just pick up the phone and call P.A.S.T. and they will do the rest for you. I am very proud of the P.A.S.T. program.

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.

I realize Im an ambitious guy, but I just try to take things as they come, you know, for the most part.

I wouldn't judge people on their instant responses.

I know that there's a lot of room to maneuver in those kind of ghostly musical spheres.

It's very hard to predict what people are thinking.

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.

The biggest revolutions are the ones that happen in-between our ears.

We cannot make rivers whole unless we wholly understand them.

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.

To me, an untrained ear, a young person at the time, I would hear off the different feels, all these different sounds, and then years later realize that everyone had used the same equipment, just to their own ends.

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.

It seems like people need to get into the last album until they can tolerate the next one. And then, slowly but surely, by the time the new one's available, they've gotten into the last one and they really love it.