"I used to be really into 50s/60s stuff as a kid. I used to go out and chase down all these records I was after. There was this dude in Kingston, one of those people that would move in to other shops that have closed down and set up inside. He used to compile tracks for me that I was after and I used to chase them after that ­ early funk records, whatever ­ I was just bang into it. From there it led its way through to James Brown territory where you end up at the doors of hip hop. I would collect on any format, tapes, whatever. When I was a kid of 10 or 11 I started buying records and it was 7" never twelves. I could never see the point of a 12". I wasn't a DJ and 7" records were a couple of quid cheaper. The first things I remember getting were Duran Duran `The Rephlex', stuff like that. Every week I'd go into Kingston shopping and buy a 7". The idea of DJing had never even crossed my mind, not at all."

FIRST PROJECTS
"We did a Monday night at The Deco Bar in Richmond and ripped off the Mo' Wax label artwork. We called it `No Tax' `cos it was free. I never wanted to be a DJ as a youngster, I never even thought about it. I was an avid music collector and it was probably when I got to 16 that I thought `right, I'm going to be a DJ.' I bought a deck from a car boot sale at Kingston Hospital for £4.55. This wicked, steel-based Pioneer belt-drive deck with a +3/-3 pitch control. I got this real shit `Made To Fade' mixer and I'd mix to the radio because I only had one turntable. When everyone was into the rave scene I was more into acid jazz. I got my first gig at 17 at a bar in Richmond. Once you're into that scene everyone wants you to come and DJ. I put on parties throughout my college years, boat parties and the like. We did Flavors at Ballooga's on Finchley Road. As a student you have this mad following of 80/90 people. One mate of ours would run the coachers up from Richmond ­ it was a right result. He'd put on two seventy-seater coaches, hammer it down to get there for 10 and get back to Richmond at 3. We were on a right fucking winner. We did that for eight month's. I was doing Friday's at The Blue Note at the age of 19. I'd just finished college and heard that Acid Jazz were doing a club and I basically banged down the doors of the Blue Note when they were building it. I'd done loads of bar work and I was like `let me work here, give me some work.'

LABELS AND PRODUCTION
"I've been doing this twisted electro shit, messing around with records like Daft Punk. At the moment I'm more interested in giving people something different, a new take on a track they know, than producing original material."

DJING
I used to do PR for Norman Jay. I rate him and I like to keep his open-mindedness in my thoughts when I'm DJing. He taught me a lot I suppose, probably unwittingly. I also love out of town gigs. There's probably less choice in areas once you get out of London. And no-one wants to pay to get into a London club!" I really enjoy it. Canada is wicked, really exciting."

FABRIC
"I remember being shown round by [Fabric Live Promoter] Steve Blonde when it was a building site. It was proper, we had the old hard hats on, up and down ladders, it was fucking amazing. I played the opening Thursday press night and I was asked to be a resident then. I've not missed many since - I love it. I'm lucky in that I get to play in all the rooms and change my sets accordingly. I've had 7 hour sets in that backroom which are just fucking amazing. I've got the utmost respect for fabric: that a club of that size and stature can consistently book such strong DJs. The club is bigger than the DJs that play there which gives you a license to do whatever the fuck you want. If you have a venue and bring in promoters every night you lose that continuity. It has real attention to detail and you get looked after brilliantly."

THE FUTURE
"I've had a good grounding but by no means have I arrived. There is still more to learn."