“It’s only led me to complete awesomeness at all times.”

In an interview with The New York Times‘ Jon Caramanica, Kanye West opened up about his career and his album. Considering how few interviews of this scope Kanye gives, the entire thing is a must read, but here are some highlights:

On his apology after the Taylor Swift incident:

…It’s such a strong thing, and people have such a strong feeling about it. Dark Fantasy was my long, backhanded apology. You know how people give a backhanded compliment? It was a backhanded apology. It was like, all these raps, all these sonic acrobatics. I was like: “Let me show you guys what I can do, and please accept me back. You want to have me on your shelves.”

On the important of 808s and Heartbreaks:

There are people who have figured out the exact, you know, Kanye West formula, the mix between Graduation and 808s, and were able to become more successful at it. ‘Stronger’ was the first, like, dance-rap song that resonated to that level, and then 808s was the first album of that kind, you know? It was the first, like, black new wave album. I didn’t realize I was new wave until this project. Thus my connection with Peter Saville, with Raf Simons, with high-end fashion, with minor chords. I hadn’t heard new wave! But I am a black new wave artist.

On learning about minimalism from Rick Rubin:

For [Rubin], it’s really just inside of him. I’m still just a kid learning about minimalism, and he’s a master of it. It’s just really such a blessing, to be able to work with him. I want to say that after working with Rick, it humbled me to realize why I hadn’t — even though I produced Watch the Throne; even though I produced Dark Fantasy — why I hadn’t won Album of the Year yet.

This album is moments that I haven’t done before, like just my voice and drums. What people call a rant — but put it next to just a drumbeat, and it cuts to the level of, like, Run-D.M.C. or KRS-One. The last record I can remember — and I’m going to name records that you’ll think are cheesy — but like, J-Kwon, ‘Tipsy.’ People would think that’s like a lower-quality, less intellectual form of hip-hop, but that’s always my No. 1. There’s no opera sounds on this new album, you know what I mean? It’s just like, super low-bit. I’m still, like, slightly a snob, but I completely removed my snob heaven songs; I just removed them altogether.

On the Chicago influences for Yeezus:

Yeah, it’s like trap and drill and house. I knew that I wanted to have a deep Chicago influence on this album, and I would listen to like, old Chicago house. I think that even ‘Black Skinhead’ could border on house, ‘On Sight’ sounds like acid house, and then ‘I Am a God’ obviously sounds, like, super house.

On his place in history:

I think what Kanye West is going to mean is something similar to what Steve Jobs means. I am undoubtedly, you know, Steve of Internet, downtown, fashion, culture. Period. By a long jump. I honestly feel that because Steve has passed, you know, it’s like when Biggie passed and Jay-Z was allowed to become Jay-Z.

I’ve been connected to the most culturally important albums of the past four years, the most influential artists of the past ten years. You have like, Steve Jobs, Walt Disney, Henry Ford, Howard Hughes, Nicolas Ghesquière, Anna Wintour, David Stern.

When you’re done reading the interview, check out our comprehensive guide to what we know about Yeezus.