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Why the cult of hard work is counter-productive

From footballers’ work rates to the world of Big Data, the cult of “productivity” seems all-pervasive – but doing nothing might be the best thing for your well-being and your brain.

Loafing around can be an act of dissent against
the ceaseless demands of capitalism.
Illustration: Matt Murphy/Handsome Frank

Recently, I saw a man on the Tube wearing a Nike T-shirt with a slogan that read, in its entirety, “I’m doing work”. The idea that playing sport or doing exercise needs to be justified by calling it a species of work illustrates the colonisation of everyday life by the devotion to toil: an ideology that argues cunningly in favour of itself in the phrase “work ethic”.

We are everywhere enjoined to work harder, faster and for longer – not only in our jobs but also in our leisure time. The rationale for this frantic grind is one of the great unquestioned virtues of our age: “productivity”. The cult of productivity seems all-pervasive. Football coaches and commentators praise a player’s “work rate”, which is thought to compensate for a lack of skill. Geeks try to streamline their lives in and out of the office to get more done. People boast of being busy and exhausted and eagerly consume advice from the business-entertainment complex on how to “de-fry your burnt brain”, or engineer a more productive day by assenting to the horror of breakfast meetings.

A corporate guru will even teach you how to become a “master of extreme productivity”. (In these extreme times, extremity is always good; unless, perhaps, you are an extremist.) No one boasts of being unproductive, still less counterproductive. Into the iron gate of modernity have been wrought the words: “Productivity will set you free.”

Strategies to enhance the “productivity” of workers have been formalised since at least Frederick Winslow Taylor’s early-20th-century dream of “scientific management” through methods such as “time studies”. The latest wheeze is the Big Data field of “workforce science”, in which everything – patterns of emails, the length of telephone calls – may be measured and consigned to a comparative database to create a perfect management panopticon. It is tempting to suspect that the ambition thus to increase “worker productivity” is aimed at getting more work out of each employee for the same (or less) money.

To the long-evolving demands of productivity at work we must now add the burden of productivity everywhere else. As the Nike T-shirt’s slogan implies, even when we’re not at work, we must be doing work. There is certainly a great deal of Taylorised labour available on the internet: “sharing”, “liking” and updating profiles constitutes click-farm piecework for which we eagerly volunteer, to the profit of the large “social” media corporations.

Even for those who are not constantly bombarded with work demands outside the office, the ubiquity of information processing presents a temptation to be on call at all times. Our world has become an ambient factory from which there is no visible exit and there exists an industry of self-help technologies devoted to teaching us how to be happy workers. “Is information overload killing your productivity?” asks a representative business story. The answer is to adopt yet more productivity strategies. The labour of work is thus extended to encompass the labour of learning how to keep up with your work (specialised techniques, such as “Inbox Zero”, to manage the email tsunami) as well as the labour of recovering from your work in approved ways. 

“Exercise,” advises one business magazine feature. “It makes you more productive.” In a perfect world, you would be getting exercise while you work – standing desks and even treadmill desks are sold as magical productivity enhancers. In the future, we’ll enjoy the happy possibility of carrying on with our work while out running, thanks to “wearable computing” devices such as Google Glass, which has the potential to become the corporate equivalent of the electronic tags that record the movements of criminals.

In the vanguard of “productivity” literature and apps was David Allen’s “Getting Things Done” (GTD) system, according to which you can become “a wizard of productivity” by organising your life into folders and to-do lists. The GTD movement quickly spread outside the confines of formal work and became a way to navigate the whole of existence: hence the popularity of websites such as Lifehacker that offer nerdy tips on rendering the messy business of everyday life more amenable to algorithmic improvement. If you can discover how best to organise the cables of your electronic equipment or “clean stubborn stains off your hands with shaving cream”, that, too, adds to your “productivity” – assuming that you will spend the time that is notionally saved on a sanctioned “task”, rather than flopping down exhausted on the sofa and waking groggily seven hours later from what you were sternly advised should have been a power nap of exactly 20 minutes. If you need such “downtime”, it must be rigorously scheduled.

The paradox of the autodidactic productivity industry of GTD, Lifehacker and the endless reviews of obscure mind-mapping or task-management apps is that it is all too easy to spend one’s time researching how to acquire the perfect set of productivity tools and strategies without ever actually settling down to do something. In this way, the obsessive dream of productivity becomes a perfectly effective defence against its own realisation. 

As Samuel Johnson once wrote: “Some are always in a state of preparation, occupied in previous measures, forming plans, accumulating materials and providing for the main affair. These are certainly under the secret power of idleness. Nothing is to be expected from the workman whose tools are for ever to be sought.”

Nor is there any downward cut-off point for “our current obsession with busyness”, as one researcher, Andrew Smart, describes it in his intriguing book Autopilot: the Art and Science of Doing Nothing. Smart observes, appalled, a genre of literary aids for inculcating the discipline of “time management” in children. (Time is not amenable to management: it just keeps passing, whatever you do.) Not allowing children to zone out and do nothing, Smart argues, is probably harming their development. But buckling children into the straitjacket of time management from an early age might seem a sensible way to ensure an agreeably docile new generation of workers.

If so, the idea has history. In 1770, an anonymous essay on trade and commerce was published in London. (It is now usually attributed to a “J Cunningham”.) In it, the author proposes that orphans, “bastards and other accidental poor children” ought to be made to labour in workhouses for 12 hours a day from the age of four. (He allows that two of these hours might be devoted to learning to read.) This will have the happy effect, the author argues, of creating a new generation “trained up to constant labour” and thus increasing the general industry of the population, so that future labourers will be happy to earn in six days a week what they currently make in four or five.

Cunningham’s proposed workhouses are also conceived to house (or, rather, imprison) adult vagrants and other so-far-incorrigible poor people. Existing workhouses are too luxurious, he complains: “Such house must be made an house of terror”. Only terror will make the inmates properly productive; the solution is “the placing of the poor in such a situation that loss of liberty, hunger, thirst . . . should be the immediate consequences of idleness and debauchery”.

Fear has not ceased to be a useful spur to productivity. A recent article in the London newspaper Metro reported that research had shown that “dedicated Britons” were “less likely to pull a sickie” than workers in Germany and France. The researcher claimed: “Strong employment protection and generous sick pay was empirically found to contribute to increased staff sickness in Germany and France.” It could indeed be that Europeans are slackers and Brits are peculiarly “dedicated”. Or it could be that Britain’s more “flexible” labour market terrifies citizens into struggling into work even when they are ill.

The reason sickness is undesirable is not that it causes distress or discomfort but that it results in what is often called “lost productivity”. This is a sinister and absurd notion, predicated on the greedy fallacy of counting chickens before they have hatched. “Workplace absence through sickness was reported to cost British business £32bn a year,” the researcher claimed in Metro: a normal way of phrasing things today, but one with curious implications. The idea seems to be that business already has that money even though it hasn’t earned it yet and employees who fail to maintain “productivity” as a result of sickness or other reasons are, in effect, stealing this as yet entirely notional sum from their employers.

It took a long time before the adjective “productive” – which once simply meant “generative”, as applied to land or ideas – acquired its specific economic sense, in the late 18th century, of relating to the production of goods or commodities. (The noun form is first recorded by the Oxford English Dictionary in an essay by Samuel Taylor Coleridge, in which he writes of the “produc­tivity” of a growing plant.) To call a person “productive” only in relation to a measured quantity of physical outputs is another way that business rhetoric has long sought to dehumanise workers.

One way to counter this has been to attempt to recuperate the supposed vice of idleness – to hymn napping, daydreaming and sheer zoning out. Samuel Johnson is sometimes counted among the champions of faffing, perhaps simply because of the name of his essay series The Idler. Yet he looked sternly on occupying oneself with “trifles”, as he describes his dilettante friend Sober doing in one of those columns. The guiding principle of The Idler, as Johnson described it in the farewell essay, was to encourage readers “to view every incident with seriousness, and improve it by meditation”. So meditating seriously is not idleness. 

On the other hand, Johnson noted sagely in an earlier entry, one can be idle while appearing anything but: “There is no kind of idleness, by which we are so easily seduced, as that which dignifies itself by the appearance of business and by making the loiterer imagine that he has something to do which must not be neglected, keeps him in perpetual agitation and hurries him rapidly from place to place . . . To do nothing every man is ashamed and to do much almost every man is unwilling or afraid. Innumerable expedients have therefore been invented to produce motion without labour, and employment without solicitude.” Does this not perfectly describe our modern saturation in fatuous busywork? 

David Graeber, the anthropologist and author of Debt: the First 5,000 Years, would also probably approve of it as a characterisation of what he calls “bullshit jobs”. In a recent essay for Strike! magazine, Graeber remarks on “the creation of whole new industries like financial services or telemarketing, or the unprecedented expansion of sectors like corporate law, academic and health administration, human resources, and public relations”, all of which he describes as “bullshit” and “pointless”. Their activity is to be contrasted with that of what Graeber calls “real, productive workers”. 

It is telling that even in such a bracingly critical analysis, the signal virtue of “productivity” is left standing, though it is not completely clear what it means for the people in the “real” jobs that Graeber admires. It is true that service industries are not “productive” in the sense that their labour results in no great amount of physical objects, but then what exactly is it for the “Tube workers” Graeber rightly defends to be “productive”, unless that is shorthand for saying, weirdly, that they “produce” physical displacements of people? And to use “productive” as a positive epithet for another class of workers he admires, teachers, risks acquiescing rhetorically in the commercialisation of learning. Teaching as production is, etymologically and otherwise, the opposite of teaching as education. 

Idleness in the sense of just not working at all, rather than working at a bullshit activity, was championed by the dissident Marxist Paul Lafargue, writer of the 1883 manifesto The Right to Be Lazy. This amusing denunciation of what Lafargue calls “the furious passion for work” in capitalist civilisation, which is “the cause of all intellectual degeneracy”, rages against its own era of “overproduction” and consequent recurring “industrial crises”. The proletariat, Lafargue cries, “must proclaim the Rights of Laziness, a thousand times more noble and more sacred than the anaemic Rights of Man concocted by the metaphysical lawyers of the bourgeois revolution. It must accustom itself to working but three hours a day, reserving the rest of the day and night for leisure and feasting.”

That sounds nice but why exactly should we do it? It is because: “To force the capitalists to improve their machines of wood and iron, it is necessary to raise wages and diminish the working hours of the machines of flesh and blood.” Workers should refuse to work so that new gadgets get invented that will do the work for them. Similarly, Bert­rand Russell, in his 1932 essay “In Praise of Idleness”, argued that technology should make existing work patterns redundant: “Modern methods of production have given us the possibility of ease and security for all,” he wrote. Somewhere, he is still waiting for that possibility to be realised.

One modern anti-work crusader who cleanly abandons any notion of productivity is Federico Campagna, whose recent book The Last Night is an exercise in poetic dissidence. In seeking their existential justification in work, Campagna writes, “Humans elected their very submission to the throne as their new God.” Those who resist the siren promises of labour are therefore the true “radical atheists” and should be glad also to call themselves “squanderers”, “egoists”, “disrespectful opportunists”, “parasites” and most of all “adventurers”. Campagna explains: “Adventurers, like all humans, live within a dream, in which they try to be the lucid dreamers.” Something like dreaming or idling, it turns out, is also now sanctioned by another arena whose popular rhetoric often lays claim to a kind of religious authority: that of neuroscience. 

According to Andrew Smart’s book Autopilot, recent (but still controversial) brain research recommends that we stare vacantly into space more often. “Neuroscientific evidence argues that your brain needs to rest, right now,” Smart declares on the first page. (It took me a long time to finish the book, because I kept putting it down to have a break.)

Smart’s evidence suggests the existence of a “default network”, in which the brain gets busy talking to itself in the absence of an external task to focus on. To allow this “default network” to do its thing by regularly loafing around rather than switching focus all day between futile bits of work, Smart argues, is essential for the brain’s health. “For certain things the brain likes to do (for example, coming up with creative ‘outside of the box’ solutions),” he writes, “you may need to be doing very little.”

The poet Rainer Maria Rilke, Smart observes, was not very “productive” in terms of the quantity of poems he produced in an average year. However, while pootling away his time, he occasionally experienced a torrent of inspiration and what he did produce were works of greatness.

This reminds us that it is not necessary to abandon the notion of “productivity” altogether. We all like to feel that we have done something useful, interesting or fun with our day, even (or especially) if it has not been part of our official work, and we might harmlessly express such satisfaction by saying that our day has been productive.

This ordinary usage encodes an ordinary wisdom: that mere quantity of activity – as implied by the get-more-done mania of the productivity cult – has nothing to do with its value. Economics does not know how to value Rainer Maria Rilke over a prolific poetaster in receipt of an official laureateship. (One can be confident that, while mooching around European castles and writing nothing for years on end, Rilke would never have worn a T-shirt that announced: “I’m doing work”.) And his life sounds like more fun than one recent Lifehacker article, which eagerly explained how to organise your baseball cap collection by hanging the headwear on shower-curtain hooks arrayed along a rail.

Perhaps I shouldn’t mock. All that time saved every morning by knowing the exact location of the baseball cap you want to wear will surely add up, earning you hours more freedom to hunt and hoard ever more productivity tips, until you are a purely theoretical master at doing nothing of value in the most efficient way imaginable. 

Steven Poole’s “Who Touched Base in My Thought Shower? A Treasury of Unbearable Office Jargon” is published by Sceptre (£9.99)

MATTHIAS SEIFARTH FOR NEW STATESMAN
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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