Since I was 14, I wanted to make music, but I think I would also have made a good policeman. When I was eight, I wanted to be one so I could tell people off.

The trouble with making music as a job is that I have no outside interests. All I can do to wind down is go to sleep.

From the age of 14 to about 20, I bombarded record companies and DJs with my demos. I was desperate to get it out there. Most of the time, I got nothing back.

I'd been sending out demos and CDs for years. I knew my stuff was good enough, but I was getting nowhere. Then, three people - my future manager and two publishers - happened to send one of my tracks to EMI publishing in the same week. All of a sudden, they were interested!

I want to be the number one songwriter-producer guy of all time.

Even if you have a big tune, live crowds can get sick of it. It's not just about the song but also the staying power and if people have connected with it in a certain way. I know that the tracks I put more emotion and depth into are the ones that have the staying power in clubs.

Right at the start, when I was about 13 or 14, I only had an Amiga 500 Plus running a bit of tracker software called OctaMED. My brother was big into his computers, and when he moved up to a proper PC, I took charge of the Amiga.

I suppose Spotify is a good thing. The ads are quite annoying, but a lot of people seem to like it and use it. I don't myself, but it seems like a good idea, and the labels are getting a huge amount of money off it, but the artists aren't, so that must be good for them... but not us.

I trade musical favours like cattle. I can't remember the last time I did a remix for actual money. For me, I try and get a good swap.

When I'm a bit sad, I often go for a drive in the country, quite fast with my music up.