Before I started Brainfeeder, there were rumblings in our own circle about creating a label for us all. Then I started to see all these other ones from Europe try to capitalise on the scene. It didn't make sense to me that there were all these people who were trying to build on something that was in our backyard.

George Clinton is the best storyteller in the world.

I don't like to brag about it, but there are people I've worked with at the start of their career, and they've all become very, very successful.

Sometimes I feel evil!

If I see a cop, it's not like, 'Oh, there's a cop who's gonna keep me safe.' It's more, 'There's a cop who might be having a bad day, so don't make eye contact.'

I do think your environment really plays into how you create. I lived in San Francisco for a bit, and I felt like I lived in the Matrix - so my music had that paranoid-of-the-outside sound to it.

We're all trying so hard to be beautiful, but the people in 'Kuso' are trying so hard to be disgusting.

All of the Flying Lotus records are exploring similar themes: These questions in my mind about what's next and what's beyond.

I don't want to do one of those records where it's like a compilation of a bunch of all sorts of rappers on my beats. I don't find those to be focused albums.

When I was in middle school, that's when I first started making beats. I was maybe 14, 16, something like that.

If I work with Bjork, then I'll be a happy soul, man.

In high school, I was that guy who was trying to be cool with everybody, but I never really had a core group of friends.

I was a real big fan of Lil Wayne when he first came out.

I had the whole 'Ghostbusters' toy set with the firehouse and the car and everything. Sometimes I'd use my grandpa's camera and make little stop-motion cartoons with those toys - I was definitely a weird kid.

I'm a geek, man.

I wouldn't want to get involved with a game that's a stinker - I can smell one of those a mile away.

I definitely learned to communicate with other musicians better. I used to feel so intimidated by guys who can read notes, like, 'Oh my God, they're gonna think I'm not even gonna be able to sit at the table.' But I've come to see that a lot of these musicians don't know how to read music either, and that made me feel good.

Thundercat, specifically, is insane. I'm always surprised at the things he comes up with when we're jamming out together. I gotta try to keep up with him and his ideas, be able to respond without speaking, and come through with some more music. He challenges me to keep it musical and not so computer.

I'm not the kind of person who's always out at the club if I don't have to be. I like chilling. I think that comes across in my music.

If I have to be 'the experimental guy' or whatever, then I'll roll with it.

Thundercat put me on to George Duke.

I played saxophone for a while when I was a kid.

I took to the synthesizer. My cousin had some synthesizers, and I'd always make stuff on those things.

It's tough when you're an artist because you get to go around the world and make a lot of friends, but guess what? One day, all these people that you love are going to die, from DJ Mehdi to DJ Dusk to J Dilla to Austin Peralta to DJ Rashad.