That's what I care about is the people I work with and representing them and helping to make their music apparent for the rest of the world.

I've been in jail a couple times. I've been caught shoplifting.

New York is so serious about the creation of work. Everything is happening so fast, it feels like there's another studio, another session on every block, and I love that.

Dancehall has always had a homophobic problem, but you go to dance parties in Jamaica, and some of the biggest dancers are kinda gay, just not outspoken about it. Dancehall was the first kind of music I was DJing, and it was always more about the rhythm.

I see the value in every kind of music, even country.

I do a lot of collaborations and productions, whether it's Switch or Steve Aoki or No ID or Will Smith or No Doubt - I always like to collaborate and be a quality control person for the people 'cause I have my own taste in music and bring that to other peoples' brands and help them learn a little bit.

How mad would it actually be to do an 'Avatar' type animation film, but about something mundane like a Winn-Dixie cashier's day at work? That'd be something else, I think.

I wish I played guitar so I could start a band with great musicians.

The kids that are making the ghetto stuff I can't even reach are the ones that are inspiring me to play music for the other kids in the city they don't even know about. If I don't get those kids making music, there won't be an original kid DJing like me in five to 10 years.

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.

K-pop is a weird term because K-pop has everything - rap records - it's very pop-sounding; there are really boy-band-sounding records.

You always have to evolve - the minute you start building a moat around you to keep yourself safe, you're going to lose.

Man, I don't got any real fans. Just fair-weather ones and groupies.

I love Marvin Gaye. I like jazz and all that stuff.

Man, the only thing that's important is what is due tomorrow. I don't care what it is as long as it's good.

I'm not a superstar, per se... but I'm a musical creator - a producer in the same vein as what Quincy Jones was, or Pharrell and Timbaland were.

All I know is don't ever get into a feud with Taylor Swift. She has, like, 50 million people that will die for her. You can't step into that arena.

90 percent of the records I make are spontaneous.

I put out this record on Ninja Tune called 'Florida' when I was about 22. And at the same time, I was DJ'ing and beginning to mix stuff up and promote shows in Philadelphia and New York and my own parties and make mixtapes, put out bootleg white labels.

I used the name Diplo at one show when I was really young, and it just stuck. I never meant to keep it. But it's kinda cool.

Sometimes I make more money in a weekend than my grandpa made in a year.

Snapchat's the place where people are hearing and learning about culture.

All of the best songs happen on a whim.

When I worked with M.I.A., who was, like, the coolest person back then, she was just a girl I met on the Internet. Or even when I met Azealia Banks on Myspace, I never thought, 'Oh, she's cool.' I just loved what she was doing. So I've always been like that. And I think, as a producer, that's what you've gotta do.

I've probably got the most eclectic social media there is because it literally goes from hanging out with my son at a park, to, like, Madonna's house, to a rave in Africa.

I think one of the reasons I've been successful is that I can see things before other people do. I've always been able to do it.

Money, for me, is just to create bigger and better things. A lot of guys in the deejaying world flaunt it, but I don't see any use in that. I don't need anything. I live in hotels. Most of my clothes I get for free. I like to invest in ideas. In people.

If anybody is excited about my music, that's all I care about. I care about people who are excited about new music.

People don't know exactly what I do; they just know I'm 'cool.'

You can never figure out what the future sounds like. As soon as you make it, it's the past.

I grew up in Florida in different cities. I was born in Mississippi. My parents moved a lot, so I moved to Tennessee, Alabama, South Carolina, Virginia, all through the South. But my family's roots were from central Florida, like Daytona Beach area, so we ended up moving there.

When we think about big records, a lot of producers are thinking of how to make it as standard as possible. I think those days are gone. I think you have to surprise the audience in 2015.

I never got tied down to any social scene. I was just into creating stuff. And I think, even today, that's how I'm able to work and move between so many different genres - I want to be part of what's happening, I want to make new things.

I'm trying to always do new things because if you stay behind and fight the future, you are just going to be left behind.

Selling MP3s or physical copies, it's still cool, but I think it's slowly becoming outdated to where people just want to build a culture.

Even in America, we're not a huge act by any means, Major Lazer.

Good bands won't get famous anymore unless they get really lucky.

PC Music is a really post-modern attempt at pop.

A lot of producers get famous because they decide to be superstars for their own reasons, but I'm inspired by Timbaland and Pharrell and Swizz Beatz 'cause they're doing things that are so different. I like how they're introducing ideas I never would have thought of.

When I was fifteen, I used to run around reading 'Adbusters' and dumpster diving, trying to find ways to make the U.S. government unwind into chaos through hardcore punk and metal.

As a youngster, I lived in Philly for 12 years, and I would go up to New York to do shows and make money - it was the dream to maybe be able to survive there and live there.

New York feels like the whole city is into dance music. That's not how it felt when I was younger. There was more of a hipster scene.

Every day is work for me, but it's also a party. I'm the luckiest guy in the world.

Attention. That's all girls want.

The best gift you can give to a girl is your devotion, not some Louboutins. But buy those if you're busy, for sure.

I was a schoolteacher for a while, and it was the worst job.

If kids can have some sort of social responsibility, that's cool. But if they're not actually having social responsibility, and they're kind of hiding behind it, that's kind of useless, or even worse.

You just have to do; you can't live by the rules of what you're supposed to do. I think every person is good at something, and you just have to push that forward.

I was never good at scratching, but I was good at collecting old records. Florida was a great place for that, because it's where people go to die.

It's cool to play the guitar, but to me it's even cooler to scratch a guitar backward and forward, to manipulate it with a turntable. Guitars can't do that themselves.