I pay attention to lyrics and I know what rap fans care about. I try to write for the average listener and I'm conscious of the mainstream without selling out.

My real dream is to have a whole, like, buy a whole piece of land. Imagine, like, a long driveway. Like, a cul de sac-type street, with maybe, like, seven houses. Me be right here. Have my mom be able to be right here. My brother over here. My girl's grandmother and family right here. Friends over there. That's my real dream.

I just feel like, with rappers, there's so much complacency. It's like, 'Oh, I'm a rapper. I'm successful. I make money. That's all that matters.' But there's a lot of stuff going on in the world. Whether or not you're aware of it, it's happening.

I had a lot of resistance, and not just to fame. I was always conscious of not changing.

My fans love me for me, my beats, my rhymes.

I feel like I'm a New Yorker because I really know the city. I actually tell the drivers where to go - I have this bad habit, I always question the drivers. I do that all the time because I feel like I know the best way, when really it's like, 'Yo, man, shut up. This dude does this every day of his life.'

In hip-hop, there's not a lot of love. There's not a lot of love being spread. It's always like 'I'm stuntin' on you raps, or I'm better than you raps.' It's not a lot of 'Yo man, I idolize you raps.'

There's been people who've rapped and produced - like Kanye - but I don't feel like on the rapping side there's ever been a producer who can rap as good as I think I can rap.

I had a rat-tail when I was younger. I had this nice Bobby Brown fade, with a rat-tail that was long enough to wrap around my face. I used to chew on the end and bite it.

I was a class clown. At 12, I was definitely clowning. I was making all the jokes. But I was smart, so the teachers didn't know what to do with me.

I was a super-duper Tupac fan, and I realized later, when I became a huge Nas fan and a huge Eminem fan, I was drawn to the storytellers. They all told stories in different ways, but they were all like the best storytellers.

I'm the same kid who used to hop the trains with headphones and just go to downtown Manhattan, walk around and listen to music or walk through the city. The fame restricts that. It's a small complaint in comparison to the benefits I get from it, but the restrictive part is what I don't like - and the fact that it's not reversible.

People think because I've got some success, I've made it, but in my eyes it's like, 'How long has Jay Z been in the business? How many albums has he got?' Not that I'm trying to be Jay Z, but I am trying to be around for a long time.

I want people to follow their dreams, yes... but I'm not interested in telling young black kids how to be rappers... I want to show them that there's so many other paths you can take, besides a rapper or basketball player.

I kinda like the idea of having an album that's all me.

I don't live for the accolades. I'm more so about the music. Making it, and putting it out. Those are the two best feelings.

I was a huge Mike Tyson fan growing up; his fights were always on in my house.

I was just a goofy little funny kid, who was always getting sent to the principal. It wasn't serious because I was smart. I wasn't like a true troublemaker, just rambunctious - like, talkative and trying to be funny. That was me in middle-school.

Barack Obama would not be President if he were dark skin. You know what I mean? That's just the truth. I might not be as successful as I am now if I was dark skin.

Touring is very routine. You get to the city, you go to the hotel, you got to be at the hotel by a certain time - it's very routine. I'm not a very structured person, so when I get some structure, it's cool; it's good for me.

I've got two Rolexes that I'm very proud of - a gold Presidential that was a gift and a white gold one I gifted myself. I'm trying to step my game up and get a few more of those.

Usually I start with a beat, I start making a beat, and my producer side is making the beat. And on a good day, my rapper side will jump in and start the writing process - maybe come up with a hook or start a verse. Sometimes it just happens like that. A song like 'Lights Please' happens like that.

I now possess the tools as a producer and a songwriter to really just go out and make smashes all day long. I could make an album full of smash records that got pop appeal. But my heart is in hip-hop. My heart is in telling stories. And it's like therapy for me.

I still wanna rap better than everybody else, and I wanna say important things.

My parents were divorced by the time I was even conscious - like, I don't remember them ever being together.

As much as it might look like, to someone else, that I'm successful, I never feel like I'm anywhere. The further I go, I still feel equally further from my eventual goal. Because as I grow, I get more goals. I'm never content.

I want to be like Bruce Springsteen or something, making songs that are relevant.

When you're headlining, people are paying to come see you specifically. It's a different kind of pressure, because you've got to deliver. You've got to give these people what they paid for. It's a different mind state, a different type of mentality, but it's honestly a pretty good problem to have, you know?

I think if I did something in the pop world right now, it would be for Rihanna. I'd love to do something production wise for her.

I struggled with being a broke college graduate, and while all my friends were getting career jobs, I was working horrible part-time jobs. That's why now, even when I get tired, I think, 'This is what I asked for.'

Rhyme patterns are nothing without meanings to the words. A lot of rappers can do those flows, but the raps aren't really about anything - which is cool sometimes, but to have the flow and the message is one of my favorite things.