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Graffiti has an interesting relationship to the broader world of hip-hop: It's part of the culture, but also in a weird way a stepchild of the culture.

Graffiti writers were the most interesting people in hip hop. They were the mad scientists, the mad geniuses, the weird ones.

Hip-hop has survived as a sonic practice more than anything else. It's an approach to music-making based in sampling and rhyming over beats, that's proven far more versatile than its detractors thought it would.

I know about hip-hop culture, whether it's graffiti writing or DJ-ing or being an MC.

I got into DJing and making beats when I was about 17. I was always fascinated by the four elements of hip-hop: you know, writing, rhyming, breakdancing and graffiti.

In kindergarten I had to draw a picture of what I wanted to be when I grew up. I drew a rapper. I didn't really know what a rapper was or what they did - I just wanted to do it.

My graffiti really comes more from a May '68, sort of Situationist vibe than the hip-hop world. I think a real graffiti artist would find me a poser.

I was a hop-around. I hung out with the rockabilly crew, the guys who were trying to be rappers, the funny kids.

As a white teen, I was very drawn to hip-hop culture, almost to the point of disappearing in it - there was a sense of having no sense of authenticity except this one that wasn't mine.

When I was growing up, hip-hop was still a pretty specialised thing.