Come together: an aerial view of Nairobi's outskirts and suburbs. As the city's population swells, unemployment has risen to 60 per cent. Image: Frederic Courtbet/Corbis
Show Hide image

Petropolis now: Are cities getting too big?

As we confront the challenge of urbanisation, we can deploy technology with two different intentions.

Imagine if you lived in a place where                                
the cool breeze caresses your face as                               
you stare at the lush green landscape,                               
where birds sing as you walk by,                               
where you can fish by the lake,                               
where your neighbours share your lifestyle dreams,                               
where your kids can play outdoors safely . . .                               

Where is this idyll? Migaa – a 20-minute drive from the rubble of the Westgate shopping centre in Nairobi, Kenya – is a new development complete with a private hospital, conference centre, “shop till you drop” mall facilities and a 200-acre executive golf course. Natasha, a sales rep, talks me through the mid-range Tamarind Tree residences – fully serviced apartments with a lift and a concierge, high-speed internet, a roof terrace with a solar-heated pool and a bar.

“We also have a wall,” she tells me. Patrolled by armed security guards, it is a 12- kilometre-long electrified stone wall around the perimeter of the compound.

Migaa is one of several “premier gated cities” springing up around Nairobi, from the $14.5bn Konza Techno City to Tatu City, with its helipad and biometric ID system, unveiled last year by the Moscow-based Renaissance Partners in Cannes, France. Nairobi is not the only place this is happening: a pan-African trend to upgrade to the “smart city” of the future is emerging. Uganda’s capital, Kampala, has Kakungulu eco-city, with two malls, a 50,000-seater stadium and a golf course with seeds for the greens flown in from Florida. Accra, Ghana, has Appolonia. Lagos, Nigeria, has Eko Atlantic, “rising like Aphrodite from the foam of the Atlantic”. The Democratic Republic of the Congo, not to be outdone, has la Cité du Fleuve, emerging, like a “water lily”, on reclaimed land in the middle of the Congo River near the capital, Kinshasa. The mansion designs on offer include “palace-style Arabe” and “Mediterranean villa”. Elsewhere, there’s Masdar in the United Arab Emirates, Norman Foster’s eco-oasis in the desert, coming in with an estimated $20bn price tag for 40,000 inhabitants.

In South Korea, Songdo is already open for business. Described by Cisco as a “model for future cities”, Songdo has smart water, smart garbage (pneumatically sucked out of sight), smart parking with cars guided to empty lots, centralised blood pressure monitoring consoles, elevators you can order from your television screen and ubiquitous 52- inch plasma screens for high-definition video conferencing. Plus, a green space modelled on New York’s Central Park and a canal system inspired by Venice.

Then there are the ambitions of China. After a decade of rolling out the infrastructure equivalent of Rome every two months, China, according to the news agency Xinhua, now aims to step up the pace, with 100 model cities, 200 model counties, 1,000 model districts and 10,000 model towns by 2015. It’s Grand Designs on steroids. Yet will these urban dreamscapes work in reality?

If urbanisation is the defining trend of the 21st century, with 4.9 billion people predicted to be living in African and Asian cities by 2030 (the population of the world as recently as the mid-1980s), are we up to the task? Or is this the next real estate bubble, not sub-prime but super-prime, dressed up in the mushy atmospherics of eco-bling? There are three potential problems.

The first is the demand for jobs. Around the world, some 200,000 people a day leave the countryside – crops failing, the agricultural model broken – in a pattern of distressed migration that takes them to the slums. Nairobi’s population has swollen to around 3.4 million. The figures are unreliable but some 60 per cent of its population is estimated to be slum-dwelling, concentrated in just 5 per cent of the city’s space.

The challenges are patent. Nairobi is bursting. Its streets are jammed (the city recently rose to fourth in the world in IBM’s Commuter Pain Index), its services are crumbling. Business, in a vicious circle accelerated by the terrorist attack on the Westgate shopping centre, is leaving the city. As it leaves, it reduces still further the flow of tax revenue that, from roads to health to education, could transform public services.

Unemployment is at 60 per cent, with only 9 per cent (according to some estimates) in formal-sector unemployment. More than 500,000 new unemployed young people join the labour force every year; 90 per cent of the unemployed have no skills or formal training beyond primary education.

Why do the rural poor come to the city? For a woman such as Mama Felix, the owner of the Pink Lady hairdressing salon in the slum of Mathare, there’s a central answer – because that’s where the hope is. Braid by braid, customer by customer, she is working her way towards getting back the savings she lost to a loan shark. She has no running water and no lights. Half the money she earns goes out to relatives in the countryside. But she has some scissors, a mirror, an electric dryer and, above all, a market for her skills.

For all the “flying toilets”, Mungiki street gangs and illegal changaa breweries, Nairobi’s sprawling slums of Mathare, Kibera and Korogocho are concentrators not just of poverty but of opportunity. If the businesses move out to the new satellite city – if you move the engine that’s creating 45 per cent of Kenya’s GDP and economic opportunity 15 miles away – the migrants will follow and set up camp. You haven’t solved the underlying problem with a new city: you have just moved it on down the road. These new “smart” cities aren’t going to look like the architect’s model. They are going to have a lot of people camping in and around them, looking for jobs.

The second problem is the supply of jobs. Just how many will the smart city manage to offer? As part of its cultural life, Migaa, which is built on over 700 acres of a coffee plantation, will celebrate the rich heritage of that industry with the Coffee Museum, complete with digital displays and a café: a site for agricultural production transformed into a site for consumption and for the deployment of the development strategy known as “pacification by cappuccino”. As Slavoj Žižek notes in The Year of Dreaming Dangerously: “There is a wonderful expression in Persian, war nam nihadan, which means, ‘To murder somebody, bury his body, then grow flowers over the body to conceal it.’”

From its IT systems to the merchandise in its malls, the smart city risks being an import city, closed to local skills and goods, with a reduced capacity to develop or integrate local expertise in the supply chain. As a result, there’s the danger that it will become something close to an iPad city, a mesh of topdown, closed systems, both vulnerable and interdependent, with a deskilled local labour force that’s unable to repair or maintain it.

The smart city becomes a city that is only as good as its software, built for obsolescence. The impact of new cities such as Angola’s Kilamba, or China’s deserted Tianducheng (with its 108-metre-high “Eiffel Tower” and replica Champs-Élysées), is to create the throwaway city.

The third problem is what J K Galbraith called “the massive onslaught of circumstance”. Food price rises, which have already resulted in events from the tortilla riots in Mexico to the self-immolation of Mohamed Bouazizi in Tunisia, have been shown to have a direct link to civic unrest. As Henk- Jan Brinkman and Cullen S Hendrix wrote in a report for the World Food Programme: “Food insecurity, especially when caused by higher food prices, heightens the risk of democratic breakdown, civil conflict, protest, rioting and communal conflict.”

If the predictions of climate-change-driven drought and impacts on crop prices across eastern and central Africa hold true, the new smart city is facing a complex external environment, with several specific threats to the boundary wall: more people with more mouths to feed, facing higher food prices, with fewer jobs to help them afford it.

As a point of reference, it was in the Lower Shabelle area of Somalia – where drought struck and brought child mortality of 10 per cent – that the Islamist terrorist group al- Shabaab gained control. Resilience, the capacity to adapt and heal, not the opposite, is what the 21st-century city will need.

Done right, the smart city has the potential to provide affordable housing and construction jobs and help incubate a next generation of start-ups. Done badly, it’s a different story and has the potential to leave us with three problems: a broken countryside, swamped megacities and non-resilient new satellite cities.

In 2011, there were 23 urban agglomerations that qualified as megacities, which means that they had populations exceeding ten million inhabitants. By 2025, there are expected to be as many as 37 megacities. The challenge for Nairobi and all of these cities is a defining challenge for societal well-being in the years to 2050.

Is there another option, beyond the smart city, that might work? In Erik Hersman’s photograph, taken 60 kilometres outside Nairobi in the Savannah at the construction site for Konza, the contours of two potentially dystopian cities of the future can be seen. The first, implied in the deserted fields, is the decreasingly resilient megacity, the swamped “petropolis” of Nairobi. The second city, Konza, advertised on the billboard, is what is currently on track to be its replacement, the new smart city, “cyburbia”, the gleaming citadel, censored and sensored. This is the eco-city as escapist urbanism.

I s there a third city, beyond the dyad of old Nairobi and its glimmering cyburb of Konza? Is there a city where technology helps us not escape but address the looming crisis of rural African poverty? Is there a city where we could thrive?

“The fields,” said the poet Ben Okri, “are sprouting strange new mushrooms.”

The group standing in front of the perimeter gate are members of Nairobi’s iHub, part of a network of self-organising groups that now run 16 innovation spaces across the city. From the iHub to M:Lab, Nailab and 88mph, an alternative approach is forming, deploying technology not to escape the problems of distressed migration but to tackle the root causes.

M-Kopa, the brainchild of Nick Hughes, one of the founders of the mobile money transfer system M-Pesa, is an example. Across the globe, there are as many as 1.5 billion people without access to power, spending 40 to 70 per cent of their income on kerosene and firewood, with two million deaths a year from smoke inhalation and 150 million tonnes of carbon released annually.

M-Kopa set out to address these three problems by making solar home-lighting systems affordable and accessible to low-income consumers. In October 2012, M-Kopa partnered with Safaricom to launch the first ever “pay-as-you-go solar solution” using mobile money. M-Kopa takes the d.Light mobile solar light and puts a mobile chip in it. This has a big impact for users. Instead of having to buy the light outright, at a cost far beyond their range, Kenya’s cash-strapped poor can make an initial deposit of $30, then lease it, just like a mobile phone, for around 50 cents a day: less than they would be spending on kerosene or firewood.

Using M-Pesa, the mobile money transfer system, they pay instalments of 40 Kenyan shillings a day for 12 months, about 30 shillings less than the cost of paraffin and charging. In return, they get the M-Kopa system, comprising a base station with a solar panel, three lamps and a charging kit for phones.

And they don’t just get power. Using the chip, they can get micro-insurance, buy fertiliser and make micro-payments for productive equipment such as the KickStart agricultural hand pump, which, at the cost of $34, gives access to the underground water table, tripling the number of crops that local farmers can plant.

They get the basic needs that make it possible to stay out of the slums and succeed as a rural farmer. The essence of the approach is to use technology not to accelerate consumption but, as Ford did with the Model T, to transform productivity within a new group of the population. In one study, exam pass rates went up from 68 to 82 per cent and incomes per head from $160 a year to $1,600. For Mama Felix, it means more hours in the shop, lights for her family, phone-charging and mobile money transfers. It means the chance to move slowly out of poverty.

Does it make business sense? The poorest of the poor spend $36bn a year on kerosene alone. The market for M-Kopa is believed to be $1bn a year in Kenya. It is a market that is the opposite of the sub-prime. It is big, growing and, when you serve it, by raising user productivity and income, you expand it.

M-Kopa is part of a growing movement to use technology for development. Another Kenyan innovation, iCow, is a voice-based application for small-scale dairy farmers. It helps farmers trace the oestrogen cycles of their cows and also gives technical advice on animal nutrition, milk production and gestation. Users of the application have reported an increase in income of 42 per cent, with milk retention increased by 56 per cent. Meanwhile, MFarm, a Kenyan agribusiness company, has partnered with Samsung to launch a new tool that allows subscribing farmers to obtain real-time price information, buy farm inputs and find buyers for their produce.

The MFarm tool was founded by three Kenyan women who met through the iHub in Nairobi. Their idea, facilitated by a group called Akirachix, a community of over 200 tech women, was developed at the M:Lab incubator at Nairobi’s iHub and launched after they won a 48-hour boot-camp event and €10, 000 of investment.

It is early days but a pattern is emerging. “Technology,” says Kentaro Toyama, “is not the answer. It is the amplifier of intent.” As we confront the challenge of urbanisation, we can deploy technology with two different intentions. One is vertical, isolating ourselves in gated smart cities from the crises affecting the poor. The other is horizontal, harnessing technology to empower smart citizens, with the goal of making both the rural and the urban work.

Leo Johnson is the co-author, with Michael Blowfield, of “Turnaround Challenge: Business and the City of the Future” (Oxford University Press, £20). For more information, visit: turnaroundchallenge.org

MATTHIAS SEIFARTH FOR NEW STATESMAN
Show Hide image

Moby: “The average American IQ is around 98”

Moby, the vegan king of chill-out pop, talks wealth, David Bowie’s hat and the average intelligence of his fellow Americans.

In January 2012, two women walking their nine dogs on the hill beneath the Hollywood sign found a man’s severed head wrapped in a plastic bag. His decomposing feet and hands were discovered nearby. First theories pointed to the work of a Mexican drug cartel, or the murderous Canadian porn actor Luka Magnotta. The story piqued the interest of the electronic dance music mogul Moby, who wrote about it in a New Statesman diary in May this year.

Today, the smell of cedar and pine hits you on the canyon path, which is hot, steep and sandy – an immediate wilderness in one of LA’s most exclusive areas. The Griffith Observatory shines like a strange white temple on the hill. Brad Pitt, a local resident, was doorstepped after the head was discovered: he lives near Moby on the streets of Los Feliz, near Griffith Park, where the only sounds are hedge strimmers and workmen’s radios. Moby’s 1920s mansion is all but obscured by Virginia creeper.

As we sit down at his kitchen table, Moby tells me that the body parts were found to belong to a 66-year-old Canadian flight attendant called Hervey Medellin. Shortly before Medellin’s disappearance, his boyfriend, Gabriel Campos-Martinez, had used a computer in the flat they shared to find an article titled, “Butchering of the human carcass for human consumption”. The head, feet and hands showed signs of having been frozen: the rest of the body was never found. He says it was one of those rare times in life where reality was more intriguing than the conspiracy theories.

Moby, of course, eats no meat. Fifteen minutes’ drive away in the hipster neighbourhood of Silver Lake, his vegan bistro, Little Pine, serves a variety of plant-based dishes, proceeds from which go to animal rights organisations including the Humane Society and Peta. His own music is never played there. We are meeting to talk about his new album – but, he says: “It’s 2016 and people neither buy nor listen to albums. And they certainly don’t listen to the 16th album made by a 51-year-old musician. I don’t care if anyone gives me money for this music or for live shows ever again. Once a record’s released, I couldn’t care less what happens with it. I liked making it, but I don’t care.”

He is currently working his way though the stages of grief outlined by the psychiatrist Elisabeth Kübler-Ross. To denial, anger, bargaining, depression and acceptance he has added a new phase: Schadenfreude. On the night of the US election, he left the house at 6pm west coast time to watch the coverage with some friends. He checked his usual round of sites on his phone: CNN, the New York Times, the Washington Post, Nate Silver’s FiveThirtyEight, the Guardian, the Huffington Post, the BBC, politico.com. He was concerned to see that no one was calling any of the early states; with Obama’s election, exit polls suggested the victory by noon. Days earlier, Moby had been predicting humanity’s “wake-up call” in the form of the destruction of Greenland or a zoonotic virus – but not this. He is softly spoken, with a quick laugh and the kind of intelligence that seems to warm him up from the inside when he talks, but today he is angry.

“It is disturbing on so many levels,” he says. “One, that we have elected an inept racist as president. Two, just seeing how dumb and delusional so many Americans are. Because really – in terms of the subsets of people who would vote for Trump – you have to be delusional, or racist, or stupid. I am so confused as to the fact that such a high percentage of Americans are either really stupid or incredibly bigoted.”

The stupidity of Americans is, he says, a matter of “anthropological curiosity” – or simply demographics. “The average American IQ is around 98,” he notes. “So that honestly means – in a vaguely non-pejorative way – that there are a lot of really, really dumb people. The nonsense that people were spouting before the election – that Trump was a good businessman, for example? This phenomenon has been particularly egregious of late: people have an almost adversarial relationship with evidence. Climate-change deniers are another example.”

As a self-described old-timey alcoholic, Richard Melville Hall (nicknamed Moby by his father in honour of his great-great-great-uncle Herman) has a pervasive interest in neurochemistry. He uses it to explain much of the past six months in Western politics. Our failing political systems – the subject, in fact, of the album he doesn’t want to talk about – are underpinned by “a kind of delusional motivation, which is basically to ignore the countless things that are actually going wrong in the world and focus all your attention on things that are arbitrary. In the United States, you have people who have perfectly good jobs in safe communities who are obsessed about Mexico, crime and unemployment. We have these quasi-Orwellian responses to stimuli, and they come from a place of fear and scarcity. Humans are still built to amass as much wealth as possible, and fight off the enemies as quickly as possible, but the only threats are the ones we generate ourselves.”

There’s a dishcloth on the table, a few magazines, a bit of a draught and Moby in a black hoodie pouring two glasses of water.

Fear and scarcity pervade American society, he says, because social policy is an extension of corporate process and “nothing is free from the cadres of professional lobbyists”. Meanwhile the ravenous news consumption that helped drive Trump reflects a human addiction to the “neurochemical jolt” of engaging with the media.

“People have a profound and almost feral attachment to that which makes them feel good in the moment,” he says. “Without thinking of long-term consequences, does their belief give them a shot of dopamine right at this second? If so, they hold on to it. Eating junk food, voting Brexit and voting for Trump.”

 

***

 

Moby is the model of an addictive personality well-practised at controlling itself. He was a fully fledged alcoholic by his early twenties: at ten, he’d been given champagne and made himself the promise, “I always want to feel this good.” Now, he cannot touch a drink, but his modern-day addiction, he says without a beat, is his phone. Every thought is pursued to extremes. He recently released an animated video for a new song, “Are You Lost In the World Like Me?”, showing a procession of grotesque, phone-addicted cartoon characters filming a girl as she throws herself off a skyscraper and hits the ground.

The house is vaguely baronial, airy and open-plan: all dark wood and furniture polish. An Annie Hall poster in the pool house; a coyote postcard on the kitchen wall.

This particular property is a result of serious downsizing: Moby has a habit of buying very big places, doing them up and then moving out. When he was still in New York, he bought a remote mountaintop retreat in Kent Cliffs, 50 miles north of Manhattan. He created a magnificent bedroom of 1,500 square feet with ten skylights – but quickly learned he could only get a decent night’s sleep when he pulled his mattress into the cupboard. He told the New York Times that, living all alone in the big house, he “felt like Orson Welles at the end of Citizen Kane”.

He moved to LA in 2010, swapped vodka for quinoa smoothies and took the keys for another large building – the Wolf’s Lair, the turreted, 1920s Gothic castle in Hollywood once inhabited by Marlon Brando, with the swimming pool historically used for porn movies and the hidden tiki bar. He bought it for $4m and sold it for $12.5m four years later – allegedly to Banksy. He rattled around in that house, too. Right on cue, he tells me: “I felt like Orson Welles at the end of Citizen Kane.”

On the one hand, these were sensible ­investments for the man who’s sold 20 million records; on the other, large impersonal spaces appealed to Moby long before he was in a position to buy them. Raised by his single mother on food stamps and welfare in Darien, Connecticut, he started his adult life squatting an abandoned lock factory, where he could ride his moped around his bedroom, piss into a bottle and read battered Star Trek paperbacks while working on early demo tapes, rather like a ragged, vegan version of the boy in the movie Big.

He was very happy in his penniless state, as he records in his memoir, Porcelain. He’d like to propose something he calls the End of Wealth – but we’ll come back to that.

In the past few years Moby has broken free from the “Beckettian purgatory of touring”. When his biggest-selling album, Play, was released in 1999, his music career was effectively “over”. Before Play, he had changed creative direction, going from progressive house to ambient to thrashy punk – to which he has just returned – and no one knew what to do with him. The only reason he hadn’t been dropped by his UK label, Mute Records, was that its owner, Daniel Miller, was “an old egalitarian socialist”.

Play sampled slave songs of the Deep South – recorded by the ethnomusicologist Alan Lomax in the 1940s – and wove them into a backdrop of cerebral chill-out. The songs of pain and emotion took on an eerie neutrality, and TV shows and ad companies came calling. He was approached by Will and Grace and Grey’s Anatomy. At that point, selling records and touring were still more lucrative than licensing a song to TV – and licensing a song to TV was still considered selling out. But Moby considers himself an ugly duckling: “If someone who was once unattractive suddenly gets asked out on loads of dates, of course they say yes a lot.” He licensed every song on Play and it became the soundtrack of the millennium.

His memoir was unusual because it concentrated on the ten-year period before he got famous. It captured his enthusiasm – and his strangeness – at its source and showed him to have a sense of humour that may have passed people by the first time round. “I’m in London! London!” he wrote. “Benny Hill, Joy Division, Peter O’Toole!” He visited the vegan café in Covent Garden.

The book is filled with money: or with the constant, practical concern of not having it. Navigating poverty is an everyday routine: he is an “alchemist” turning used beer bottles into nickels at the recycler, and thence into soya milk and oranges. In his early twenties he becomes a Christian, partly so that he can repeat the Sermon on the Mount at Bible classes in the households of Greenwich Village and “judge” the rich children.

Book two, which Faber & Faber is waiting for, is more difficult. The period of his fame and fortune in the 2000s is too much of a cliché. “Ten years ago I was entitled, narcissistic, bottoming out, alcoholic, selfish and feral. Robbie Williams has done that story, so has Ozzy and Mötley Crüe. Who wants to read that? It’s tautological.”

Instead, he has decided to write about the first ten years of his life. It will look into his relationship with his mother, who loved him but raised him in various drug dens. He was at her side when she died in 1997, but he missed her funeral, having woken late in the morning to discover that at some point in the night he must have got up and set his alarm clock three hours late. He took a taxi to the wake, worrying about the fare, and for reasons he can’t really explain, turned up cracking jokes.

He has a strange nostalgia for the kinds of friendships you have in early adulthood, when everyone is equal, “before that point when someone starts making money and they think they’ve won: they’re going to have access to a different kind of happiness”.

In 2003, when he turned 38, he was famous, wealthy and miserable. “I’ve been able to see and inhabit almost every stratum on the socioeconomic scale, from extreme poverty and obscurity to wealth and fame, and it gives me an insight into it,” he says. “Because a lot of people who experience wealth are born into it, and a lot of people who experience poverty never leave it. I can safely say that for me there has been no causal effect between increased fame and wealth and increased basic happiness and well-being.”

When Moby talks about himself, he applies many apologetic epithets: clichéd, meditating, yoga-loving, mealy-mouthed. In 2007 he developed mobygratis.com, a large online resource offering independent film-makers and film students a licence to use his music for free. If their films are commercially successful, the revenue from licence fees must go to the Humane Society. He says he wants to propose a more rational, evidence-based approach to wealth.

“We are still attached to the idea of the redistribution of wealth,” he says. “As progressive lefties, we’re all brought up to think that is a good idea. In the old days, it meant the difference between eating and not eating. Nowadays the person on $30,000 consumes twice the calories of the millionaire, and has a bigger TV and works fewer hours.

“There is an underlying assumption that if wealth were distributed more evenly then people would be happier, but there is unfortunately very little anthropological or sociological evidence to support that idea, unless there are institutions to support the basic needs of community, like food and shelter. Confusing materialism with happiness is the essence of our culture.”

While west LA is plastic surgery and gold-plated toilets, he says, his own neighbourhood is “David Lynch wearing an old T-shirt and mowing the lawn”. Among the millionaires of Los Feliz, conspicuous consumption is frowned upon. He knows several who live “incredibly austere lives. I was having tea with Jim Carrey the other day. He’s basically just giving everything away. He just realised that owning three planes was stressing him out . . .”

In his New Statesman diary, Moby said that life in LA offered him miles and miles of lavender-scented name-dropping.

“Coldplay played the Rose Bowl recent­ly,” he says. “And the Rose Bowl holds 75,000 people. It’s a struggle for me to sell 2,000. At first, I winced with a little jealousy. But then I thought, ‘If my career was at that Coldplay level, how would that actually affect my daily existence? Would it make my shoes fit better? Would it make the water pressure in my shower better?’ As long as you’ve satisfied the basic hierarchy of needs – enough to eat, clean air to breathe, bears not eating your legs – happiness is all where and how you put your attention.”

***

He goes to his kitchen cupboard and from among the colanders and measuring jugs he extracts a black velvet fedora – size seven, silk-lined, from a London company established in 1879. In green marker around the inside rim are the words “With love from David – Christmas 2005”. Bowie gave it to him over Christmas dinner that year. “It’s the hat that he wore in The Man Who Fell to Earth,” Moby says. “There’s this amazing picture of him wearing it with John Lennon and it’s clearly when he was doing a lot of cocaine.”

Moby lived on Mott Street in Little Italy and Bowie lived on Mulberry Street. “I had a little roof deck, and he had a beautiful roof terrace, and we could wave at each other.” They were neighbours and friends, worked on music together, went on tour together, had barbecues together. He says the title of Bowie’s last album, Black Star, is a reference to the 1960 Elvis Presley song of the same name “about the end of a life” (“And when a man sees his black star,/He knows his time, his time has come”).

“David had been sick for a long time,” he says. “Or ill, as you say in the UK. So, David had been ill for a long time. I was very pleased that . . . after he died, people were asking me, ‘How do you feel?’ and I’m like, ‘Actually, I’m just kind of happy that he lived as long as he did.’ Because I . . . had thought, yeah, I had thought that he was going to die a little before that. So.”

The Radiohead singer Thom Yorke lives just up the street from him in Los Angeles but Moby has never met him “as far as I know”. Apart from Bowie, he claims not to have musician friends.

“Musicians – and I’m sure you’ve encountered this many times – have a sense of self-importance that is off-putting,” he says. “It is very hard to be friends with someone who thinks that just by showing up, they’re doing something special. At the end of the day, you want to say to them, ‘You know what? You wrote a couple of good songs. Let’s put it in perspective.’”

He was born on 11 September 1965, and on his 36th birthday he watched the twin towers burning from his roof deck. He tells me that when the second plane hit and it became clear the first was no accident, he heard “the cumulative effect of ten thousand rooftops covered with people, and the weirdest scream. A scream of horror but also a scream of understanding.”

Fifteen years on, he talks about this year’s politics as a Manichaean thing. “Half the world are motivated by fear and desire to move backwards, and the other half are motivated by optimism and a desire to move forward rationally. It’s religious tolerance versus fundamentalism; it’s racism versus inclusion. I wonder if there’s a way we can make peace with that whole other half of humanity who are holding on to a non-evidence-based approach to the future. But I don’t know what it is.” He has known Hillary Clinton for two decades, was a vocal supporter of hers during the election run and released a pair of anti-Trump tracks for Dave Eggers’s music project 30 Days, 50 Songs.

He says that many celebrity Clinton backers were cautious to come out for her during the primaries “because Bernie supporters wanted to crucify you. Now Trump has united and inspired Democrats more than anything since the Vietnam War.”

The election result, he says, might just be “the equivalent of a crystal meth addict going on one last bender. Maybe this bender will finally convince Americans to stop voting for Republicans. Because they are terrible. There has always been an understanding that if everyone in America voted, there would be no Republican politicians. The reason Republicans win is that most Americans don’t vote.

“Those of us on the left who were brought up to be tolerant of people who had different opinions from us – well that’s great, ­unless the opinions are bigoted and wrong. If someone is a climate-change denier, they are wrong. If someone voted for Brexit, they are wrong. If someone voted for Trump, they are wrong. There is a lot of ambiguity in the world, but not about these things.”

The clock ticks towards 11.15am and Moby, ever punctual, is done.

“These Systems Are Failing” is out now on Little Idiot/Mute

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 08 December 2016 issue of the New Statesman, Brexit to Trump