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There's constantly this melancholy about British hip-hop. People are always waiting for it to explode like American hip-hop, but it might just be that British hip-hop will always be as it is: an underground thing which will stay that way.

That's the reason why I'm making albums. That's the reason why I love hip-hop: It's a challenge every time.

I have done so much for hip-hop and 'til this day, I haven't received any awards or any recognition for it.

Hip hop scholarship must strive to reflect the form it interrogates, offering the same features as the best hip hop: seductive rhythms, throbbing beats, intelligent lyrics, soulful samples, and a sense of joy that is never exhausted in one sitting.

Hip Hop has become real constrained. The creative juices and creative flows have been diminished.

Hip-hop is all over the planet.

All I can say is that I've had too many people in the hip-hop industry really like what I'm doing. I know where I'm coming from, and the album speaks for itself.

I always say, 'Hip-hop takes me everywhere.' It's crazy when I step onstage, and people might not speak much English, but they know every word to your songs. It's kind of freaky, but it's really cool.

The thing about hip-hop is that it's from the underground, ideas from the underbelly, from people who have mostly been locked out, who have not been recognized.

Hip-hop is such a disposable art form from a business standpoint. It never treats its artists as art; it never treats its product as art.