I turned pro as a 20-year-old, won a world title a year later, and remained a world champion ever since.

When no one knew who Dana White was... Dana White used to run around with me, hang out with me, and I treated him just like anyone else in my camp.

I can remember 1987 when I had my first amateur fight in Michigan, weighing 64lb. I was 10 years old. I was the youngest and smallest guy on my team. I can remember what I ate. There was this restaurant called Ponderosa, and my dad made me eat a steak. I was happy. It was a first round knockout. I slept with my trophy for two weeks.

When people see what I have now, they have no idea of where I came from and how I didn't have anything growing up.

My dad was in a hospital for months. The doctors told my dad he would never be able to walk again. My dad beat all the odds. He came back and was able to walk and start boxing again. He went to No. 1 in the world at welterweight to fight for the world title. But he never had his chance to fight for a world title.

I'm always focused.

If anyone has followed my career, they know that there's been a lot of obstacles and a lot of ups and down through my career. But day in and day out, and in the square circle, I went out there and always did my best.

I'm here to say all lives matter.

Larry Merchant's just a commentator. He don't know nothing about boxing.

You can never overlook a guy.

When I was in the ring at the Olympics, it was my father's words that I was hearing, not the coaches'. 'I never listened to what the coaches said. I would call my father and he would give me advice from prison.

I want to be promoted in the urban areas. A lot of African-American people should know more about me.

I feel like everybody is against Floyd Mayweather. I don't get any respect.

I got a big mouth.

I think I already proved that I wasn't just fighting for the money, because I fought as an amateur. I fought 90 fights for free.

When I step in the ring, I bring everything I have.

Well, you've got certain obstacles that get in your way throughout your career, but you have to be a strong individual.

I always put my boxing first.

I like to play table tennis, spend time with my kids.

I ain't never nervous. Never nervous.

I love basketball.

I'm a professional fighter and like most professional fighters I have had difficulties with my hands in the past.

What's so crazy is when you give interviews to reporters that don't really care too much for you, basically what they're going to do is write what they want to write and discredit you. They're going to write and say what they want to say, no matter what you tell them.

When they put me on ESPN and they talk about negative things, or when they put me on TMZ and they talk about negative things, I'm just glad that I'm relevant; to have lasted this long being relevant.

I would lie in bed, and I was nine years old, and say to myself: 'I want to be the richest man in the world.' I've come a long way from there.

Some people are just right for you.

Floyd Mayweather is in the sport to give great performances.

The American fans would love to see me fight anybody.

Everywhere I go, I will make a good payday. But we got to choose the right opponent and the right time and the right venue.

Imperfection is perfection.

I think I put a lot of special attention towards creating interesting textures and unique sounds. Music essentially boils down to two main elements: rhythm and melody. I feel tones and textures often get overlooked, so I like to take my time finding the right sounds.

I actually found not having a routine was inspiration.

I think Sydney has so much natural beauty; it's just a beautiful city.

My main inspirations come from early '90s Trance, the French electro movement round '06, then a bunch of artists like Flying Lotus, J Dilla, Moby, The Prodigy. So I'd say it's some kind of experimental electronica with a strong hip hop influence. It's chilled, but people can still get super crazy and dance to it.

When I heard Flying Lotus, I was like, 'Wow, okay, everything can be off the grid.'

The minute I saw the front page of the 'Daily Telegraph' - me with my arm around the latest 'X-Factor' contestant - I realised I'd gone into a new realm.

I can't sing, but I'll sing over this chord progression, like, over and over, for however long it takes - sometimes it's, like, two minutes, sometimes it's 20 minutes - until I've found like a hook or something that I'm really happy with. And then, basically, it just like that's my melody, and that's where I start from.

There was this cereal, and it had a special promotion with a CD inside the box that had a really simple music-making program on it. I got it, and that opened my mind to being able to make music on a computer and seeing all the different layers.

I think, in the early years, my biggest influences would have been... Daft Punk was a huge one for me, I bought their main record when I was nine; at a young age, I was into music. The Prodigy, Gorillaz were big ones.

There's a lot of creativity in the industry, but I don't necessarily think that the most creative DJs or producers are always the biggest ones. I think it would be nice to see more of an open culture to different music. I think that's happening. With Spotify, I think people are discovering a lot of artists they might not discover otherwise.

In the dressing room, we've just made it really Zen: low lighting, lots of candles, and fresh, healthy food.

With Spotify, I think people are discovering a lot of artists they might not discover otherwise.

I'm a really heavy sleeper. When I wake up I'm a terrible morning person.

It's quite fun to mess with the human voice. It's quite special in the sense that the voice is the #1 instrument that we can connect with; it doesn't sound too alien. I think that's the key is to find the line between sounding human and sounding robotic. That's an area that I like to explore a lot.

Everyone can write their melodies and chords and pianos and guitars, but what hasn't been discovered yet are tones and textures, and that's very exciting. Probably the No. 1 most important thing in my music is not to sound like anyone else.

Honestly, production when you first start can be difficult to wrap your head around.

I'm not thinking about the next record really yet. I kind of want to do a bunch of stuff with Jonathan Zawada, the guy who did the album art. I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record.

I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real.

Once I'm in a situation where I can not do anything for three years and go off the map, I'll focus more on writing. Right now, I want to just make Flume awesome... and big.

The thing I find frustrating about rock music is, how different can you make an acoustic drum kit sound, an electric guitar and vocals? It's very stuck, whereas with electronic music, new sounds are being created.