You Have To Put These Hooks In

And Sometimes, I'd Be Allowed To Be Hanging Out In The Studio, Which I Just Loved Kind Of, Like, Being In The Room With These Big Recording Desks, With All These, Like, Buttons And Knobs And Watching The Guys Use Them.

I Got Into Dj'ing Because I Started To Listen To New York Radio A Lot. Obviously, I Knew The Stuff Everybody Knew, Like Beastie Boys And Public Enemy, But I Heard "who Got The Props" By Black Moon, And I Went Up To This Kid In My School With The Walkman On And Was Like, "what Is This? You Must Tell Me How I Can Get This Now." Because There Was No Shazam Or Googling Lyrics.

I Didn't Really Get That Good At Cutting Because I Didn't Have Those Three Years Of Gestating And Nurturing My Skills In The Bedroom. I Was Kind Of, Like, Out And Playing In Clubs After Three Of Four Months, Because I Was Pushy With Promoters. But I Would Just Listen To The Radio - Stretch Armstrong And Red Alert - And Then I Would Go Hang Out With Mayhem, Who Did The Wnyu Hip-hop Show.

You Know, Like, There's Songs Like "valerie" And "bang Bang Bang" That I Was So Proud Of. And, You Know, The Level Of Success That They Had - If They Were Little Cult Hits Meant That, You Know, I Could Sellout Webster Hall Or Williamsburg Musical Hall Or The El Rey Theater In La. Like, That Was Having Made It To Me. So The Thought Of Having A Number One Song In My Own Career, Like, Never Even Registered.

So Sometimes If I'm Working With A Rapper, Like Ghostface Killah Or Nas, Producing Usually Means, In Hip-hop, That You Make The Music. You Make The Beat, And You Give It To Them. And They Write The Rhymes.