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I saw 'Rolling Stone' magazine once, and they were talking about the top 50 songs, and there wasn't one Sly song; how does that happen? But, Sly isn't the type to brown nose for props. He's always known what he had, what he was capable of; I'm just proud that he took the time and effort to put it to music.

Sly Stone doesn't make good albums: only good records. His style is so infinite and revolves around so many crucial aspects that it has only come together perfectly on a handful of his singles.

The music industry used to be able to control a single dance on the very smallest level of when people are supposed to hear it, and when they're supposed to start liking it, and when they're supposed to start buying it. And that's trashed, you know, that big machine that takes control and works albums for a long period.

Whether it is Jimmy Slyde or Lon Chaney or Gregory Hines, their dance shows what they experienced, what they had to go through.

I think there is some truth to the fact that yeah, okay, cool, obviously the more mainstream kind of easier-to-grasp-onto dance music has become popular, but that holds true with almost any genre. It wasn't like the Sex Pistols hit the radio. It was poppier versions of that is what hit. It's never, like, the true core stuff.

From the beginning, I wanted to make dance music with a human element to it.

I think the thing that we agreed to so many years ago, actually, was that the music didn't have to support the dance nor the dance illustrate the music, but they could be two things going on at the same time.

That's what I love about our music - it'll never be a hit because you can't dance to it.

Dance music is so interchangeable. There's not a lot of face to it. It's a bunch of Dutch DJs with the same haircut.