Quotes from Goldie

You face your demons doing Bikram. You challenge them, beat them.

I was never very good at marketing myself, I was very good at being explosive and making sense of something in the chaos around me.

When you go into the studio, you have to know what you're going in there for. I went into the studio because I had a voice and I wanted to change things, and I don't necessarily mean my bank account. The money is almost a B factor, a side product.

Goldie has been around a lot longer than his gold teeth, than the golden locks. Not many people know me. He was a Rastafarian... They know Goldie the player, like my boys in Miami, or Goldie the graffiti writer, or Goldie the guy on the estate with the gold teeth, but nobody really knows that little boy from school, you know?

Saturnz Return' proves how important the mother issue was for me in my life.

From the age of three, my life has been documented by social workers. There's a file somewhere in Walsall Social Services saying: 'He was a bit difficult today; he was trying to find out about his parents.' Or: 'He locked himself in his room and is collecting beer mats.'

It is the simplest things in life that hold the most wonder; the color of the sea, the sand between your toes, the laughter of a child.

All my experience in film has been quite fleeting and tokenesque.

Thailand is a really beautiful place, culturally and spiritually. You appreciate it the longer you stay.

I ran to the arts, because the arts are the one thing that would never abandon me.

Impermanence is the greatest gift anyone can have.

I've always worked with different mediums whether it's melting gold to make teeth, working with wood and paint or bending sound in a music studio.

Rob Playford is a phenomenal engineer, but he doesn't have his own ideas, he doesn't make his own music. But what he does have is a fantastic width and berth to throw loads of creative ideas at him.

Timeless' is like the little sister, but 'Journeyman' is the big brother - it's what I'll take to the grave.

I see electronic music as loads of monkeys pushing buttons and me being one of them. But I think my album 'Timeless' stands the test of time.

Timeless' dealt with the integrity of what drum'n'bass was about, but 'Saturnz Return' was the mischievous kid in me doing something completely the opposite.

Timeless' was always gonna be the blueprint as an artist for me.

I honestly believe art and music saved me. Art and music saved my life. I am blessed.

Too many people are making images of war. If I want to see war, I'll watch the news.

I have never engineered a record. I will draw a record and I'll show you what it's gonna look like. And I will design it and sketch it out and show you, you know, the breaks are coming in here. Sixteen bars. Move out. 32 bars and you get this baseline. Repeat this. Ghost it. Take the tops out of that. Make it go thin. Get a filter. Reverse it.

I've been moved around my whole life and it's been documented, so if you get paid loads of money to go on TV and act like a right idiot... great stuff!

From where I've come from, I look back at everything, all these people that influenced my life as a kid growing up in a really bad environment, it just makes it all worthwhile in terms of the recognition.

The weird thing is that 'Maestro' has somehow improved my DJing. When you've been in this music as long as I've been, you can sometimes become jaded. And when I got back from 'Maestro,' I realised the music is being kept in time for me - all I have to do is to wrap as much dynamic around it as I can. DJs don't realise how lucky we are.

I think most albums should be 13 tracks, to be fair. It's a matter of interest. It's quality over quantity.