Instagram photo courtesy of Todd Edwards

The storied house music producer Todd Edwards is two decades into a groundbreaking career in which he pioneered the cut-up sample technique that gave birth to the U.K. garage style of dance music, earning him the nickname “Todd the God” with aficionados. But it feels like he’s only been warming up the decks. A frequent collaborator with Daft Punk — he wrote and sang “Face to Face” from their 2001 album “Discovery” — Mr. Edwards reunites with the helmet-wearing pair for a track on their much-anticipated album “Random Access Memories,” out May 21 (and streaming now on iTunes).

But the robots aren’t the only ones seeking his services: Mr. Edwards, who has remixed the likes of Jessie Ware and Phoenix, spoke last week to a group of up-and-coming musicians at Red Bull Music Academy, a pop-up music workshop and concert hub in Manhattan. This weekend, he will deliver an Essential Mix for BBC Radio 1 with a little help from the Daft Punk crew and the disco legend Giorgio Moroder. Here, he dishes on his adopted hometown, Los Angeles; the politics of electronic music; and how Daft Punk encouraged him to go solo.

You recently moved to Los Angeles after living in New Jersey for most of your life. What’s the music scene there like?

I’ve started to hang out with a couple new producers that have helped me check stuff out. For example, there is a young group called Velcro. It seems like God has always put someone in my life to open new doors. These kids that I’ve been meeting in L.A. have been introducing me to producers like Bicep, and it’s a little bit surreal. The music is great, but I’m like, “Wow, this sounds exactly like what was going on in the ’90s!” And then I check out SoundCloud and see on how many hits they get, and I’m just amazed about how clued in everyone is. When I was living in New Jersey, I was just sort of doing my own thing. I wasn’t even researching as much. I think when you’re around a prosperous environment where the club scene is thriving, like Los Angeles, it really encourages you to expand your mind.

Many perceive the disco nature of “Random Access Memories” as a pointed move away from electronic dance music.

I think people have been associating the Daft Punk album as a strict disco album, but I wouldn’t say that. Everyone is making that judgment off of “Get Lucky” [the first single]. But that track is not definitive. I think the whole concept of the Daft Punk album is a return to a warmth in dance music. It’s about allowing dance music to have an organic sound, but still making it dancey and catchy.

What are your thoughts on “Get Lucky”?

I know some people love “Get Lucky” and some people are more critical, but what I love is it reminds me of when I was a kid and I would buy a 45 record and I would keep playing that 45 record over and over. It has that vibe. But I don’t think it’s a rebellious act of disco. I mean, when you think of Jamiroquai, he takes on that sound as well.

I think “disco” has become a blanket term for the crisp, deep sound of live instrumentation within a dance song. It seems as if Daft Punk is interested in reintroducing the bouncy production quality of Fleetwood Mac’s “Everywhere” and other songs from that era.

You hit it on the head. The new record definitely embodies that. It’s not just disco. It’s about those rock-style songs that you can dance to.

You wrote and did the vocals for “Fragments of Time” from “Random Access Memories.” Is this a preview of your coming solo record?

Thomas Bangalter from Daft was nice enough to encourage me to really push myself on both my songwriting and my singing. He gave me some brotherly wisdom: “You have a great voice. You have the ability. You could spin off from what we’re doing on this album and reach a new audience.” The cut-up thing is not going to take me to a higher place because everyone is doing it now, but songwriting and singing is a new opportunity for me. Thomas kept telling me to not focus on complicated production techniques, but just to focus on the vocals and songwriting.

The collaborator video you did with Daft Punk has more than 700,000 views on YouTube. I imagine you have a lot of new fans now.

Daft Punk is known on a global scale. Even if people don’t know who I am, I can always drop the Daft Punk thing. I don’t like to name-drop, but if you don’t know who I am, I can always say I’m best known for working with Daft Punk. Working with them is like having a good job on your résumé, or a good review. I joke that working with Daft Punk is like having a really hot girlfriend. Like, “Wow, he must be important if she’s with him!”