So I guess the work aspect of your job then is making sure that you are in tune with what is hot now, or will be hot tomorrow?
No, no, no, because I think the worst thing to do is to try and stay up with the trends, right? Because it’s just, you know, people don’t want to come and see me play like, the latest Hot Creations record. I might play one, they sound fantastic next to a Morales dub from ’92, or a pitched down techno record coming out of Detroit a month ago. It’s a little collage you have to make of the old and the new.
When you used to go to Ibiza in the summer, Alfredo would kind of play the same records every night. And by the end of the summer, and this is pretty much true if you’d gone to the Ministry of Sound in 92, you’d have heard the same records over the summer. So I try and do that – have a core of records that I play at every gig and try and arrange other stuff around them depending on where I am. By the end of the six months or whatever you can have these records that started off as a kind of unknown classic that people are really getting into.