"This was a bit later in my life, around 2000. This signals the end of me having hang-ups really. I remember when 'Re-Rewind' by Artful Dodger came out, and I thought, ""This is fucking cool!"" So much about it confused me. It didn't have chords or a bassline really, it was made of odd sounds like breaking glass that didn't really fit. And then it had this guy on top of it singing this really pleasing, really hooky, catchy little melody. It was the furthest thing away from me at the time. I was into crashing drums and cymbals, but I knew there was something in there that really turned me on musically. When I admitted that I liked that to myself, it really opened up a lot of doors to me, into R&B and Destiny's Child and R. Kelly, lots of stuff that would have been previously out of my usual sphere of influence. I embraced it, and there were things I really liked. With people like R. Kelly, I spend 50 per cent of the time laughing at him and the rest thinking, this is actually good. A huge influence on my music is the singing quickly, and the singing something absurd, and then something serious, hooky, melodic, quick and light. Craig David did that brilliantly. The singles on that album are fucking amazing! He kind of lost his way after that, but I wanted to show that that whole world is very much embraced by me, and to show that we shouldn't be snobby, that it doesn't matter whether the influence is The Cheeky Girls or Pink Floyd, it just doesn't matter where it comes from. If it's good, I embrace it, and I think Craig David is a perfect example of someone who is laughably bad but secretly a pretty good artist."

"Records is a big one for me. When I first moved to New York in 2000, I tried to see him play any time he was playing. Some of my favorite shows I've ever seen were a couple of Marclays performances, solo or with DJ Trio. This record embodies the spirit of those live performances He's another absolute hero of mine – if you haven't seen him perform you should. He played on a Late Night show as this kind of novelty. And this was in 1980. As DJing is, it's just re-contextualising sound, music. But he does it with such a keen ear and there's a point to why he mixes certain things. He destroys the records by putting tape over them. As interesting and as funny as that is but musically, the results he gets from this are really, really exciting. His shows were some of the most exciting shows. I saw him play at a club in New York called Tonic, that closed down years ago, where a lot of new music was played. I saw him play in 2002, when it was him in what was known as DJ Trio which is 3 DJs, playing in the collage-y nature of what he was doing. And it was so mind-blowing. So I was obsessed with him. He was a guy that I had no shame fanboying out with. I'd see him out on the street and I'd go "Hi Christian!" He's a major artist – he did this piece called The Clock, which is toured all over the world. What's that big gallery in London right now? White Cube. He now has installations all over the world for his video art."