Will to power: Pietersen works his way towards a double century against India at Lord's, July 2011. Photo: Adrian Dennis/AFP/Getty.
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Kevin Pietersen: the man who fell to earth

Kevin Pietersen willed himself to become an Englishman, and is as troubled as he is gifted. But who is he? And will we miss him now that he is banished from the team?

— Five years ago, researching a book about Fortune, I came across the following paragraph in a scholarly essay about Renaissance conduct. The author was defining a particular type of Renaissance man, the so-called fortunato, or “Fortunate One”. It read:

The Fortunate Man, unlike the virtuous man, does not need a code of conduct; he has only to follow his impulses and be carried to the highest goals … The fortunati often lose their occult powers when they begin to study or try to work out a course of action … In all they do, they act without caution and close their ears to advice and admonition. They violate all dictates of reason and prudence, and yet they never fail.

In the margin, I wrote one word: “Pietersen”.

I had played with and against the brilliant but troubled South African-turned-English cricketer. As a fellow player, I deeply respected his talent. Later, when I was a commentator, it was his innings I wanted to describe.

I have never seen any batsman impose his willpower as Pietersen could. Where Sachin Tendulkar was a genius of skill, Pietersen is a genius of self-belief. His confidence and desire filled the whole arena, relegating the other players to the status of pawns. He could be gauche and socially awkward, but that doesn’t explain why people took against him. There was something more innately domineering about Pietersen, a quality that transcended language or manners, as though he could succeed only by putting other people down.

Now he has gone. Celebrated but isolated, heroic but exiled, tattooed with badges of modernity but strangely out of step with the times, Kevin Pietersen, who is 33, has been kicked out of the England cricket team without appeal. He has been dropped, without hope of a recall. In normal cir­cumstances, a glimmer of hope survives. Not for Pietersen.

Along the way he notched up a remarkable list of firsts. In his first top-flight one-day series as an England batsman in 2005, he scored three dazzling hundreds in South Africa, the country of his birth. Later that same year, he helped inspire England’s first Test series win over Australia in 18 years. In 2008, he scored a century in his first match as England captain. Statistically he is the most prolific England batsman of all time. He did it all with rare instinct and style.

II — Pietersen’s relationship with English cricket is often described as a marriage of convenience – advantageous to both parties while it lasted, but loveless. Perhaps it was even colder than that. I doubt Pietersen ever truly loved cricket – not in the way Roger Federer loves tennis – let alone English cricket. Perhaps it is more accurate to say that he was infatuated with the things cricket could do for him. Pietersen was going places and cricket could take him there. The game became the conduit for ambition on an epic scale. Perhaps there is a fairer term than ambition: his need.

At the end of 2003, aged 26, I was dropped from the England Test team and found myself on the England A tour to India (for A, read B). Pietersen was also on that tour, his first taste of playing in an England shirt, a year before his elevation to the full England team. We sat next to each other on the plane. For much of the trip he listened to loud house music on his portable player. In the clouds above Afghanistan, he took off his headphones and struck up conversation, a dialogue that seemed to have been running for some time inside his own head. “This is how I’m going to play Pollock,” he said, going into a technical analysis of how to combat the great South African opening bowler. “And this is how I’m going to play Kallis.” On he went, going through the South Africa bowling line-up.

“But Kev,” I eventually replied, “aren’t we about to play in India?” “Yes,” he replied, “but in a year’s time I’ll be on the full England tour to South Africa.”

There was something almost honourable about such unapologetically blunt ambition. For the record, one year later, he attacked the South African bowlers in that one-day series in South Africa with sensational daring. Booed and taunted as a traitor when he walked out to bat, Pietersen, who was born in Pietermaritzburg, Natal, silenced the crowd with three unforgettable centuries in just five innings. He took exceptional risks in every hundred; yet it seemed impossible he would fail (a true sign of the fortunati). England lost the series, but Pietersen had arrived.

By then, however, nothing could surprise me about him. In India, standing at the non-striker’s end, I’d watched him play a different game from the rest of us. Though I’ve played alongside Steve Waugh, Rahul Dravid and Carl Hooper, I’ve never seen batting as good as Pietersen’s on that trip. Certainty underpinned everything he did: certainty of stroke, certainty of conviction, certainty of career trajectory. By the end of the tour, I was just as clear as he was about one central fact: Pietersen was going to be a great player. In fact, he already was.

Back in England, several leading journalists encouraged me to agree with their view that he was fallible, that his technique was flawed, that his confidence was brittle. I told everyone who would listen that he was one of the best I’d seen.

I found myself sympathetic to Pietersen’s position again in late 2008, when he was sacked as England captain. His mistake had been to overplay his hand. Like several of the senior players, he wanted the coach, Peter Moores, to be replaced. But Pietersen had neither the patience nor the political skill to hide the strength of his feelings. He blundered into an ultimatum. As a result, both Moores and Pietersen were sacked. But what had the England and Wales Cricket Board expected when it appointed him as captain? A consensus-building diplomat? No, the ECB deliberately opted for his arrogance and insouciance, then recoiled from it. In effect, Pietersen was appointed captain for being Pietersen and then sacked for being Pietersen. He never trusted English cricket again, nor vice versa.

 Photo: Camera Press

III — Then, as now, the furore over Pietersen’s treatment opened up the fault lines that run through English sport. This final sacking has morphed into a referendum on the establishment. To his critics, Pietersen is a man who eventually falls out with everyone, a non-team player, unreliable at a far deeper level than his performance on the pitch. In finally reaching this position, the ECB joins a long list of employers and institutions that ultimately could no longer find a home for him.

Pietersen’s allies rail against the English suspicion of mavericks and flair, the triumph of company men, the complacent persecution of a misunderstood outsider, the hint of tall-poppy syndrome. Pietersen has found supporters in unusual places, people who might not warm to him personally but hold an even greater grudge against the establishment. More predictably he has become a magnet for the media’s self-styled tribunes of the people – not that they have helped him.

He is also a hero to a very different constituency: those who are in awe of him. During Pietersen’s exile in 2012 – when he was essentially suspended after sending unflattering texts about the then England captain, Andrew Strauss, to opposition players – civilised opinion sided with Strauss. Yet there is something about Pietersen that many fans, even intelligent ones who understand that there is a team dimension to cricket, find irresistible.

IV — Throughout the winter of 2013-2014, as England slumped to a 5-0 defeat in Australia, the press corps struggled with whether or not to report the existence of a new force in the English game. To ignore it was professional negligence, because it had become an unavoidable part of the story, but to acknowledge it in print would only encourage a self-publicist who had latched on to cricket (a subject about which he is inexpert though enthusiastic) partly to serve his own ends. It’s time to talk about Piers Morgan.

During and after the Ashes, Morgan used the platform of Twitter to mount ad hominem attacks on members of the England team. Every losing team knows it will cop plenty of criticism, but this was different. Morgan had access to privileged information. He used a sledgehammer to make his point. Pietersen was the misunderstood genius. The management were callous cretins bent on his destruction. Not untypically, Morgan recently described the present captain, Alastair Cook, widely regarded as a man of integrity, as “a repulsive little weasel”. Morgan is a friend of Pietersen’s.

Now a television personality based in America, Morgan has increasingly behaved as though he is Pietersen’s public relations agent. As a gifted polemicist used to dealing with far savvier opponents than cricket insiders, Morgan has been able to dominate many of his media debates about Pietersen. Even David Cameron, unwisely drawn into expressing an opinion about cricket selection, said he thought that Morgan had made “quite a powerful argument” about Pietersen’s sacking.

Pietersen’s England career was not in the gift of Downing Street; he needed the support of the English cricket hierarchy. Morgan’s PR “victories” certainly accelerated Pietersen’s demise; to the men who mattered, they reinforced the perception that Pietersen could not be trusted. Perhaps Morgan thought he was helping his pal, and simply misjudged the situation. Or perhaps he calculated that however things panned out for Pietersen, more people would end up talking about Piers Morgan.

Pietersen’s sacking has been interpreted as the fall of a sportsman who has run out of friends. It is sadder than that. It wasn’t just the friends he lacked that did for Pietersen, but the friends he had. For all his gifts, he was let down by his judgement of people. The old warning “Beware your follower”, a couple of thousand years older than Twitter, has rarely been more apt.

Far more balanced observers than Morgan have also interpreted Pietersen’s demise in terms of a clash of personalities, arguing that England should have been prepared to “manage” him. This time, however, that view is hard to sustain. Pietersen has now clashed with just about everyone: a long list of captains, coaches and employers.

The unavoidable logic is that something in the man, innate and essential, steered his England career towards its premature end. I am very sad about that because I, too, loved watching him play. But sadness should not bleed into sentimentality. Those who sacked Pietersen will all be judged according to the results of the England team. They have a lot of skin in the game. And yet they believed, with growing certainty, that Pietersen’s indifference was eating away at the team. Pride – which great teams foster to an almost irrational degree – cannot easily share a room with indifference. That is why no one could make a case for Pietersen staying. In the end, that is the evidence that counts.

Most sportsmen seek achievement – glory, too, and a measure of fame. But after a while, once the initial infatuation with adulation has passed, it is often the respect of their peers that sustains top athletes. Piet­ersen was different. He was compelled to greatness, never really encouraged towards it by others. His game was powered by his own desires.

I’ve often wondered what advice, if I’d been England coach watching his productivity wane, might have made a difference to Pietersen. The best I could come up was something like this: “You remember the man who was booed out to the middle in South Africa in 2005 and yet smashed the bowlers for three hundreds, all with controlled, violent certainty? Remember the England debutant who top-scored in both innings at Lord’s in that first Test against Australia, never feeling a moment of vertigo? Some force drove that man. Find it again, channel it, direct it.”

But I doubt it is still there. Then is not now. Then he was hungry and unknown, now he is famous and extremely rich. In between, he has been revered and, just as importantly, rejected. As such, the world has revealed itself as, one senses, he always imagined it would. It has acquiesced in the willpower of Kevin Pietersen, but uncomfortably so, before recoiling from the force of his personality. That is why he will feel, all the way to the end, that he has been proved right.

Abundantly, ridiculously gifted, an outsider cursed with a persecution complex, needy and exhaustingly egotistical, Pietersen never quite found a home for his heroism. He is back where he started, an exiled gun for hire.

Ed Smith’s “Luck: a Fresh Look at Fortune” is published by Bloomsbury (£8.99)

Ed Smith is a journalist and author, most recently of Luck. He is a former professional cricketer and played for both Middlesex and England.

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