The minimum wage has been cut, not increased

Vince Cable rightly noted that "cuts in real wages depress consumption" but the 12p increase in the minimum wage to £6.31 is a real-terms cut.

After recent speculation that the minimum wage could be frozen or cut in cash terms, Vince Cable used his speech at The Institute of Directors to announce that the adult rate would increase by 1.9 per cent (12p) to £6.31 an hour, the under-21s rate by 5p to £5.03 and the under-18s rate by 4p to £3.72. 

In justifying the increase, against those on the right who argue that the minimum wage prices workers out of employment, Cable cited the Keynesian insight that "cuts in real wages depress consumption and demand and thereby cause unemployment." Cable is right; low earners are forced to spend, rather than save, what little they receive (their "marginal propensity to consume" is greater) and stimulate growth as a result.

It's worth noting, then, that the minimum wage has just been cut in real-terms. CPI inflation was 2.8 per cent in February and RPI inflation was 3.2 per cent. The former is forecast by the Office for Budget Responsibility to average 2.8 per cent this year. Indeed, as the Resolution Foundation's James Plunkett recently noted, in real-terms, the minimum wage has already fallen back to its 2004 level. 

Today's decision will by described by most of the media as an "increase" but by the best measure economists have - the cost of living - it's a cut. 

In this area, as elsewhere, the coalition would do well to follow the example of Barack Obama, who has pledged to increase the minimum wage to $9 an hour, from $7.25, and to peg annual increases to inflation thereafter. 

Business Secretary Vince Cable announced today that the adult minimum wage would rise by 12p to £6.31 an hour. Photograph: Getty Images.

George Eaton is political editor of the New Statesman.

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An alternative Trainspotting script for John Humphrys’ Radio 4 “Choose Life” tribute

Born chippy.

Your mole often has Radio 4’s Today programme babbling away comfortingly in the background while emerging blinking from the burrow. So imagine its horror this morning, when the BBC decided to sully this listening experience with John Humphrys doing the “Choose Life” monologue from Trainspotting.

“I chose not to choose life: I chose something else. And the reasons? There are no reasons. Who needs reasons when you’ve got Radio 4?” he concluded, as a nation cringed.

Introduced as someone who has “taken issue with modernity”, Humphrys launched into the film character Renton’s iconic rant against the banality of modern life.

But Humphrys’ role as in-studio curmudgeon is neither endearing nor amusing to this mole. Often tasked with stories about modern technology and digital culture by supposedly mischievous editors, Humphrys sounds increasingly cranky and ill-informed. It doesn’t exactly make for enlightening interviews. So your mole has tampered with the script. Here’s what he should have said:

“Choose life. Choose a job and then never retire, ever. Choose a career defined by growling and scoffing. Choose crashing the pips three mornings out of five. Choose a fucking long contract. Choose interrupting your co-hosts, politicians, religious leaders and children. Choose sitting across the desk from Justin Webb at 7.20 wondering what you’re doing with your life. Choose confusion about why Thought for the Day is still a thing. Choose hogging political interviews. Choose anxiety about whether Jim Naughtie’s departure means there’s dwindling demand for grouchy old men on flagship political radio shows. Choose a staunch commitment to misunderstanding stories about video games and emoji. Choose doing those stories anyway. Choose turning on the radio and wondering why the fuck you aren’t on on a Sunday morning as well. Choose sitting on that black leather chair hosting mind-numbing spirit-crushing game shows (Mastermind). Choose going over time at the end of it all, pishing your last few seconds on needlessly combative questions, nothing more than an obstacle to that day’s editors being credited. Choose your future. Choose life . . .”

I'm a mole, innit.