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.

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.'

For most of my life, making music has cost me money. So I learned to live very, very cheaply.

I don't write off silly pop people at all, because you never know where they're coming from.

I like clever lyrics, funny lyrics, dumb lyrics. I can never put my finger on what I like about them.

I'm generally a very optimistic guy.

One of my favorite photographers is Ruvan Wijesooriya, who takes most of the LCD photos. His work is incredibly colloquial and raw.

I don't see myself as necessarily a very creative person. I'm a technical guy.

I have an interest in everything, but I don't have an interest in starting new careers.

You can buy $20,000 speakers, but put them in a room that's not right, and it sounds terrible. If you buy $20 speakers and put them in a room that's tuned right, it'll sound great.

I suppose what happened is that I spent my whole life wanting to be cool but eventually came to recognise the mechanism of how coolness works. So it's not really that I don't want to be cool anymore - it's more like I've come to realise that coolness doesn't exist the way I once assumed.

There are some people who are just plain great at making music. That's not who I am.

I actually want to write a treatise in defence of pretension. I think the word 'pretension' has become like the word 'ironic' - just this catch-all term to distance people from interesting experiences and cultural engagement and possible embarrassment.

You can't be afraid to embarrass yourself sometimes.

Producing is always really hard, and you can never tell who's going to be easy to get along with and who's going to be difficult.

Ad Rock from the Beastie Boys gave me a present: it's a boombox with a keyboard and a beatbox in it. You can't make that up.

When I was a kid, when the Walkman came out, I was sold. I listened to music 24 hours a day.

Sound sounds are terrible in the city, but it's great to listen and to walk and listen to people talk to each other. There are birds. You hear spring. I like listening to the city.

I'm a very self-conscious person.

I actually really love people.

I write songs all the time. Sometimes they're just weird songs I sing while changing a baby, or songs about annoying things that I sing to myself, or to friends while sitting at a bar, or about Christmas or New York.

It's strangely energizing to have people who don't make music themselves take potshots at you from the Internet.

I am kind of, by definition, a hipster.

To me, the band is like one of my homes, in fact. It's not like, 'I've got to get out of this band. I've got to go home.' This band is home in a lot of ways. It's my closest friends; it's a place where I really feel comfortable and happy.

'Somebody's Calling Me' was written in my sleep, and the original was just the piano and the beat and the singing.

Titles are relatively arbitrary to me; they take on meanings that aren't really my meanings. 'Sound Of Silver' was just, like, I made the studio silver, and I wanted the record to sound 'more silver.'

I think that not being all that overwhelmed by good reviews is a luxury. I'm like a rich person who says he doesn't care about money.

Subway Symphony is a little idea I had to change the sound of the subway turnstiles into different pieces of music, depending on what station you're entering.

I've watched too many artists in my life forget how good the things they used to do were.

I don't have a TV, and I don't have a radio.

The Fall was super powerful to me because of their covers. They were intimidating. I bought 'This Nation's Saving Grace' when it came out in 1985, and there was something about it that made me nervous. It terrified me.

I miss producing. I hate it when I do it, but I love it.

Anything that's resolvable is boring, musically. And if it's too chaotic, you don't feel tension; it's chaos.

Warhol had resonance because it was high art and low art. And you could argue about it endlessly.

There's a difference between a cheap lie and a beautiful lie.

When Andy Kaufman performed, he was not just trying to be funny. He was playing with the notion of what it means to try to be funny, of what it means to be an audience expecting somebody to be funny. He was doing a dance and playing a game.

I can be staggeringly evangelical. That's just my personality.

I know it seems like LCD Soundsystem sold millions and millions of records, but we didn't. I'm not a wealthy person.

I'm kind of stunned by hip-hop and R&B's embrace of what is essentially early-to-mid-Nineties Euro pop.

I've been to Manchester enough to know it's a real place. It's not Factory Records and the Smiths bicycling around. I get it. It's a modern city.

A lot of the time, you compromise., which is fine - it's part of not being totally insane.

After being in a 'professional rock ensemble,' there's a great joy in making music with friends, without any release plan.

I don't think I've ever made a claim to startling originality.