DJing is really, really pleasant. It's like having people over and making hors d'oeuvres.

Those early years in New Jersey were amazing. We lived in a really small town with tons of kids my age. There were fields and woods and a creek - it was a pretty ideal place to be a little kid.

We didn't set out to be cool. We set out to be an extremely tight band. We wanted to defy expectations. The more negative your mindset on coming to one of our gigs, the better for us, frankly.

I don't drink beer, and I don't drink at home.

I was someone who grew up obsessed with bands, how they were and how they treated one another, and how they treated fans.

Making 'Sound of Silver' was very emotional at times, where I just hated making that record.

With a computer, you have access to so many drum sounds and samples that your snare drum will be unrelated harmonically to your kick drum.

I think I'm designed to regret everything.

When given the opportunity to fail myself or fail someone else, I choose to fail myself.

I got a phone message from Janet Jackson saying, 'Hi, I love 'Losing My Edge', can you do me something funky and dirty like that?' I can't really do off-the-peg stuff, so I never called back.

I wouldn't say I'm a friend of David Byrne, but I guess I'm an acquaintance. I'm obviously an admirer, and we've met, but we don't call and chat about 'Breaking Bad' or anything.

The plan is to keep on putting out records until someone shows up and tells us to stop.

Songs are songs, and to reduce them is to waste them.

I spent a good amount of time with David Bowie, and I was talking about getting the band back together. He said, 'Does it make you uncomfortable?' I said 'Yeah,', and he said, 'Good. It should. You should be uncomfortable.'

I don't prepare very well. I'm always sort of wrapped up in what I'm supposed to be doing in the moment, and then I suddenly appear someplace, and I'm really not prepared.

I'm really focused and obsessed with writing things that are specific. I don't like big rock lyrics - I find them infuriating.

My personality is based on an anonymity and failure. Failure and anonymity, those are my strengths - superiority from below.

When I want to DJ what I think to be the best-sounding place in the world, I go to this place in Sapporo, Japan, called Precious Hall, which has kind of a custom sound system with a much lower ceiling and a smaller room.

I moved to New York in 1989 and went to study at NYU.

I'm an underdog by nature, and I like to be fighting. I don't make music for myself. I make music to fight.

I was a singing guitar player as a kid, and I found it really embarrassing, so I stopped singing and became a drummer.

Even in the band I was in when I was a kid, I'd be telling everyone what to do. I'd be leaning over the drums, telling them to tune their guitars, micromanaging.

As things mature - whether they be real estate, rock n' roll, politics, festivals, radio - there's an efficiency that develops, and with it, very often, comes some soul-crushing truths.

I love rock. I love the music that was born out of the latter part of the 20th century. It means a lot to me.

To do a band properly does kind of mean you don't really get to do anything else.

I'm not a big songwriter guy. People who are really good singer-songwriters usually left me kind of cold.

My high-techness is pretty low-tech. I'm not wildly computer savvy. I'm a record person.

I started playing in my first band when I was 12. I like to date myself by saying I was in a New Age band when it wasn't ironic; it was actually called new wave because it was new.

If being in a band was my job, then I would quit. This is not a good job. A good job is in financial management.

Restaurants remind me of bands: there's lots of camaraderie, people work very closely together, very hard, and it's a bad job to pick if you want to make lots of money. Whether music or food, the reward always has to be because you love it.

I never did albums fully at DFA; I always would go someplace else so I wasn't making a record in my office, basically.

What we are as a live band is different to what we are on recordings, but they're both equal versions: they're both LCD Soundsystem, but in very different ways.

Songs can click together really quickly, and other times, they're really laborious and heavy-lifting.

My gut instincts are strong, but they're not always accessible to me, which is why I like DJing, because you don't have time, and you have to go on instinct.

I don't want to be subsumed into popular culture and played on the radio next to some garbage music.

I was into punk rock my whole life. I never listened to the Eagles. I never listened to things that were getting Grammys. So getting a Grammy nomination wasn't bad, it just wasn't meaningful.

I'm always surprised by how optimistic and open sometimes people who are very successful are.

There's kind of a limitless amount of things I want to do, and when the path seems to open, that's when I try to do a thing.

If I opened a record store, it wouldn't be all punk rock and esoterica.

I'm a DJ, and I live in Williamsburg, and I run an independent record company.

The more you are like me, the less interested in my band you are.

I understand that if someone's going to make me his idea of cool, I can't control that.

LCD is a band about a band writing music about writing music.

LCD live was set up to be an argument about what's wrong with bands and why bands should be better. I always thought that we were so obviously not a great band, comically not a great band. I was not a great front man.

I'm basically a schlub.

I have a thing about inane lyrics - the world doesn't need them.

I had friends who were jocks or whatever... Then, around 12 or 13, kids get cliquish and cruel, and that disgusted me. It seemed a reprehensible use of one's arbitrary social status. So I got really aggressive about it and became more of a weird kid.

I've always been a good imitator. I love music. But I'm just not that original.

If there was a direct influence on a song, I never hid it.

Making people dance has another function that has nothing to do with art, and I mean that in the most positive way possible. It's like food - if you're not eating it, you're doing something wrong. If they're not dancing, something is wrong.