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When I started out, even though you had your rhythm section, they were big horn sections, strings, live people laying on every part of the floor in the studio waiting for their chance to get on that one little track.

I don't want to have a song like 'My Humps' and it be sagging down, so I pay attention to that area. A lot.

I make music for the whole world, not just one borough.

I'd been DJ-ing in these clubs in N.Y. and I hated everything that was coming out. So I decided I would make it myself. People were making mash-ups or remixes, but I was extra bored, so I actually started remaking these records from scratch.

My shows are always a mix of songs from all my albums with some rocking covers thrown in for fun.

I have specific playlists for arrivals in different cities. Tokyo skews new wave, Paris more jazz, and New York is Top 40.

I kind of want to get the music back on a road it hasn't been on for a while. I want to promote the arts as part of the American diet.

I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.

My usual route is, I do a play at South Coast Rep, then there's time between and I revise it, and then I take it to New York.

I always found very strong images for my songwriting in New York.