I was someone who grew up obsessed with bands, how they were and how they treated one another, and how they treated fans.
I have a very toxic combination of being completely determined, inflexible, controlling and being totally shy, guilty at hurting anyone's feelings, hypersensitive to other people's needs - and it's just paralysing.
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'm not a big songwriter guy. People who are really good singer-songwriters usually left me kind of cold.
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.
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.
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.
One of the big things that broke the band up for me, which I've become much clearer on over the years, was that I had no desire to be famous.
The vast majority of kids in my school went on to college. That's just what you did. And I remember feeling like, 'No, I'm not doing that.' The idea that college was next, that it was a given, meant it was of no interest to me. So I didn't go.
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 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.
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.
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 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 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.'
Punk rock, to me, was always outsiderness. When I first saw large-group-scene punk rock, I was repelled by it, because there were way too many people who agreed with each other.
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.
When I do a remix, I try to think about what I don't have in my bag and create something to fill that gap.
One of the things that I think is special about DJing is creating this atmosphere of collectiveness, as if to say, 'We're all in this together.'
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 like clever lyrics, funny lyrics, dumb lyrics. I can never put my finger on what I like about them.
One of my favorite photographers is Ruvan Wijesooriya, who takes most of the LCD photos. His work is incredibly colloquial and raw.