Mark Ronson

And then also the song that he wrote, Waiting for a Girl Like You, before he tried to convince my mom that he wrote it for her too.

And she was like, not having it.

She's like, but you wrote that four years before you met me.

But he was like, but I was waiting for a girl like you.

I think he was just trying to be romantic or something.

But yeah, she wasn't having it.

Oh, my God.

I mean, all of it.

I mean, so the standard that I would take on any given night was probably three crates with 100 records each and maybe like a giant bursting bag because you're taking old school disco and classics, old school hip hop, new school hip hop, R&B, reggae, a little bit of house music.

So if you're doing a four or five-hour set, which is what we're doing most nights, that's what you're bringing.

So if I was playing a cool club, I had a bunch of friends with me.

Everybody wants to get in, get some drink tickets.

If I was playing a not-so-cool club, like playing one of my uptown pay-the-bills gigs at a bar on the Upper East Side, nobody was coming with me.

And those were the nights when I kind of write about it.

Sometimes leaving my apartment would be like,

That riddle of the teacher in school, the fox, the farmer and the bag of grain and the fox and the chicken and the farmer has to take them across the thing.

So I had three crates and put one in my front door to keep the door open, call the elevator, put one in the elevator to keep the elevator door open, go back for the third one that was in the apartment, put that in the elevator, pick up the one that was in my apartment door, bring that over on the way and kick the one that's holding the elevator door open.

All the way downstairs, I'm already breaking a sweat and then repeat the whole thing in reverse.

And that was like in the apartment.

That was only one building where I ever had an elevator.