Show Hide image

Fishing with dynamite: the big competition myth

Is it time to relinquish fantasies of winning in exchange for the greater prize of shared progress?

Illustration by Sonia Roy/Colagene.com

The cure for banks? Ed Miliband advocates more competition. Need to improve education? Nick Clegg urges more competition between students, between teachers, between schools. The solution to fuel poverty? David Cameron places his faith in competition between the energy companies. From TV talent contests and school rankings to the Olympics and rich lists, our religious faith in competition has promised fabulous efficiencies, miraculous economies and dazzling innovation. Instead we find ourselves gasping for air in a sea of corruption, dysfunction, environmental degradation, waste and inequality. Might there be a connection?

When I interviewed bankers for my 2011 book Wilful Blindness, the brutal pragmatism of a competitive industry was spelled out. “Sub-prime was about ripping off poor people,” one told me. “But we have to employ a sales force. And there was no way we could hire, let alone retain a single good salesperson without letting them sell these high-commission products.

“What were we supposed to do? Sit on our principles and watch as every salesperson walked out the door?”

The financial crisis proved so catastrophic because so many were selling the same toxic products. Classic economic theory may argue that competition is productive because it generates a diverse range of goods and services that benefit consumers and, by extension, society – but in this instance (and many others) it signally failed to do so. Belief in the theory underpins Cameron’s and Miliband’s touching faith that competition, and being more easily able to switch between banks or energy providers, will somehow liberate consumers from price-gouging. In fact, it seems more likely that it will just encourage companies to copy each other’s dodgy innovations at a faster rate. Competition frequently fails to deliver its theoretical promises. Intense competition inside and between institutions generates dysfunction, corruption, waste and the unwinding of the social fabric.

In organisations, competition for permanent jobs, bonuses and promotions can erode trust. Many companies formalise this through forced ranking, a system in which employees are assessed and rewarded for their position within a standard distribution. The top 10 per cent are winners, the bottom 10 are losers and are encouraged to move out, and those in the middle are (at least temporarily) safe. At Enron, this was known as “rank and yank”, at Intel “Focal” and at Microsoft “stack ranking”. The system is a crude form of social Darwinism, inspired by the hope that a need to survive will promote great work. In fact, it has just the opposite effect: people sabotage each other, appearing to be courteous while keeping back just enough information so that colleague-competitors can’t excel. Pleasers and politicians thrive, gaming a system that no one takes responsibility for; if you’re a winner, the system works for you – and if you’re a loser, it’s not your problem. Microsoft recently announced that it was abandoning the system but most large corporations still use it, and then wonder at their inability to innovate.

Competition can’t deliver the creativity these managers need because it specifically disables collaboration. If I’m being judged in comparison with my peers, why would I help them? That these executives are the products of competitive education systems only exacerbates the problem: they bring with them a lifetime of being trained to compete for class rankings, prizes and places. In the United States, where class rankings are still common, parents advise their children not to help one another, on the grounds that doing so may jeopardise their winning the top spot. Here in the UK, primary school teachers observe “competitive friending”: parents’ attempts to ensure that their kids make the right friends to enable acceptance in the right social networks.

In both the UK and the US, the emphasis on competition and ranking encapsulates the same message: everyone is a rival. This does little to teach the subtle habits of collaboration but much to focus any child’s mind on results. If grades are all that matters at school does it matter how you get them? The past decade has brought an explosion in cheating, plagiarism and the use of drugs to enhance exam performance. At the Institute for Global Ethics, the late Rushworth Kidder estimated that, by the time they reached college, 75 per cent of students had cheated – which is why many universities now run students’ essays through Turnitin software to check that they haven’t been copied or stolen.

In the world of science, a well-honed competitive mindset has produced what many leading researchers are calling a crisis: a culture in which the open exchange of ideas, data and theories has all but stopped. Crick and Watson may have considered themselves to be in a race – but their success hinged on the shared insights, data and debates of colleagues. They would find today’s labs very different: in 1966, 50 per cent of scientists said they felt safe talking about their research, but by 1998 that number had fallen to just 14. Science is a necessarily accretive process but from Harvard and Washington to London and Berlin, ambitious scientists wanting to be superstars share with no one. Rivalry and the fear of being scooped stop them from pitching in.

Progress for a scientist is measured in publications, citations and research awards – and as the competition for both has increased, so have fraud, plagiarism and what scientists call “normal misbehaviour”: secrecy, sabotage, data slicing and culling. At the University of Washington, Ferric Fang has grown particularly concerned about the increasing numbers of scientific papers that have to be retracted because they are rushed into print too fast, with inaccurate, incomplete or fabricated data. The number of articles published in the past decade has increased just 44 per cent but retractions of scientific papers have increased tenfold – and most scientists believe this represents the tip of the iceberg.

The cost of this is inestimable; flawed papers lead researchers down dead ends and deflect others from promising avenues. The fraud of the prize-winning physicist Jan Hendrik Schön (who falsely claimed spectacular advances in the field of nanotechnology between 2000 and 2002) cost numerous scientists years of fruitless work and wasted resources.

****

The tournament that is modern science has produced what scientists call “the Matthew effect”, according to which the well-funded scientists (winners) get more funding and those with little (losers) get less. This might be a great way to run a game show but it is an especially poor way of promoting discoveries because picking winners is so difficult. The history of science is replete with cases of stunning breakthroughs made by the least likely of people, from the Augustinian monk Gregor Mendel to the “surfer pothead” Kary Mullis, whose invention of the polymerase chain reaction (PCR) transformed the science of genetics.

The costs of competition in business are sometimes obvious – fraud, corruption, sabotage – but many are more oblique. The measure of a company’s success (or the status of its CEO) is size, and the pursuit of growth is routinely pursued with high-risk strategies whose true cost may be apparent only years later. This is what the legal scholar Lynn Stout calls “fishing with dynamite”.

The quickest way to grow a company is through mergers and acquisitions, an old headline-grabbing favourite of high-profile CEOs even though research shows a failure rate of anywhere between 40 and 80 per cent. Under John Browne, BP grew fast by buying Amoco in 1998, Atlantic Richfield in 1999 and Burmah Castrol in 2000. Theoretically this should have generated economies of scale but it created debt, which ushered in an era of cost-cutting.

Similarly, the quest to make RBS the world’s biggest bank left it with the biggest loss in British corporate history and, in 2012, with a balance sheet the size of the UK’s economic output. Many working at RBS sensed that the acquisition of the Dutch bank ABN Amro in 2007 was driven by Fred Goodwin’s desire to pull off the biggest deal in banking. The quest for scale delivers not just huge risk, but also vast complexity. Supersizing companies always comes at a cost because competitive instincts don’t stop until they fail. To this day, RBS is in a tangle that people working there don’t believe they can fix.

Competition for market share is typically pursued by lowering prices. This race to the bottom might look great to consumers – dresses for £5, cashmere jumpers for £40 – but the costs have to go somewhere and usually they are pushed down to the most vulnerable. We may imagine this is a relatively new phenomenon but it isn’t. The Triangle Shirtwaist Factory fire in New York in 1911 (146 deaths) was echoed a century later by the collapse in 2013 of the Rana Plaza factory in Bangladesh (which made clothing for brands such as Matalan, Primark and Walmart), in which 1,129 died.

Globalisation didn’t invent the race to the bottom but firms such as Li & Fung accelerate it. Acting as a broker between low-wage factories and the companies that use them, Li & Fung’s “Little John Waynes” scour the world from Vietnam to Bangladesh to sub-Saharan Africa in search of ever cheaper labour. This is no small business – in 2012 Li & Fung earned $20bn – and, in theory, the brokers monitor working conditions. But its suppliers have had several disasters, including a factory fire that killed over a hundred workers.

Whether you’re making clothes, fast food or cheap books, competing purely on price drives down labour costs, producing a casualised workforce whose greater needs are either ignored or met by the state: a form of corporate subsidy that companies rarely acknowledge but happily accept.

The true costs exacted by a harshly competitive culture can be seen in the flood plains of North Carolina, the epicentre of the global meat industry. It isn’t just the ten million hogs (concentrating in just one state waste equivalent to that produced by the entire human population of Canada) which make this region remarkable. Rapid consolidation of family farms threw people off the land with nowhere to go. Industrialisation didn’t bring in money or create jobs but left the predominantly African-American families living off food stamps, stranded in a wasteland dotted with lagoons of animal excrement, afraid to protest the high levels of ammonia, hydrogen sulfide, acetic and butyric acids emanating from the facilities.

As large meat conglomerates moved into eastern Europe, a tradition of silence made consolidation easy: within ten years, 600,000 hog farms in Poland and 90 per cent of Romania’s independent farms had vanished. Horse meat is a sideshow, compared to the damage done to the social fabric of such places.

Economists may call these “perverse outcomes” but they are the predictable outcomes of competition. If we place our faith in it, we shouldn’t be surprised by such antisocial effects. After all, if my win is secured at the cost of your failure, what connects us? In a society that believes in winner-takes-all, how can competition fail to generate increasing levels of inequality?

Competition enlivens routine with drama, but when the stakes are high, so are the costs. The ubiquitous metaphor of our age – sport – demonstrates how destructive competition is, when it comes to playing for the big prizes and huge rewards that professional athletes now pursue. Travis Tygart, the head of the US Anti-Doping Agency, and the man famed for bringing down Lance Armstrong, has long agonised over the increasing rates of doping and corruption that characterise elite sport. His research showed him that although people still valued sport for the lessons of fair play, collaboration, integrity and discipline it could teach, in reality they believed that all that really mattered was winning. “In a climate in which corporate executives fabricate financial records, citizens evade taxes, professional athletes commit felonies . . . cheating and unethical behaviour appear to pay off,” Tygart’s research concluded. “Is our nation well served by a citizenry that learns to prize winning and extrinsic rewards at any cost as the values held most dear?”

It’s a recurring question. How can we create schools, companies and communities characterised less by competition and driven instead by an intrinsic passion for innovation, problem-solving and collaboration? Crowdsourcing companies – Kickstarter, Airbnb, SnapGoods, RelayRides, TechShop and many more – start from the premise that it is pooling, not hoarding resources, that creates opportunity. These businesses are typically celebrated for their technology, but their true daring resides in their reliance on the human desire to work together.

More conventional businesses such as W L Gore and Arup have proved successful and resilient because they focus intently on building social capital – trust, reciprocity and shared values – both within the company and with all the other businesses they work with. This isn’t marginal; it is central to everything they do. W L Gore is known for producing Gore-tex but should be more famous for the way it runs its business; you succeed at Gore because people want to work with you, not because you’ve bested them in a contest.

The structural engineers at Arup have been able to build some of the most challenging structures in the world – the Bird’s Nest stadium in Beijing and the ArcelorMittal Orbit – because the firm nurtures a work environment in which people eagerly share expertise and where hierarchy and status contests are of negligible importance. That these companies are also owned by their employees isn’t the single driver of collaboration but consistent with a mindset that sees shared respect and commitment as the necessary conditions for progress.

The Business Secretary, Vince Cable, and others have been keen to champion employee ownership structures as making a difference to the way companies behave. They are right to do so but wrong to think ownership alone will immunise companies against the ills that competitiveness spreads. We have seen the Co-op mired in scandal and fiasco because its ownership structure proved insufficient to ward off the conventional allure of mergers and acquisitions, the quest for scale for its own sake.

There is a lesson here for nations also. While presidents and prime ministers posture on the world stage, comparing their standing in GDP league tables, it is the smaller countries, such as Finland and Singapore, that prove most agile. They have to be great partners because they don’t have the size or market heft to protect them. They export more, plan further ahead and learn quickly. Knowing they can’t win through dominance, smaller countries have had to develop the capacity internally to be excellent collaborators externally. Not surprisingly, their high-achieving school systems seek success for every child, because they don’t believe they can afford to waste anyone.

Larger nations find it increasingly difficult to adjust to a world in which partnerships, alliances and trust represent the best social and political capital. Britain’s agonised relationship with the European Union demonstrates just how poorly we have developed the ability to contribute the best of our talents to the best of our partners.

If we are to find new ways to live and work together, we need to develop and prize high levels of trust and give-and-take: elements that competition so subtly corrodes. We need to celebrate the individuals and institutions that produce the greatest opportunities for the largest number of contributors. Many companies around the world continue to prove the human capacity for this way of working and measuring collective success.

Yet many politicians, wedded to gladiatorial combat and the rankings mania of opinion polls, have signally lost the capacity to think beyond the narrow confines of a very short race. Our politics are stalled because our problems are complex and our means of addressing them are often crude and rigid.

In the looming face-off between business, governments and society, a competitive mindset can frame the contest, but accepting this could destroy the mental maps that might show the way towards a solution. The problem is a failure not of the imagination, but of courage: the willingness to relinquish fantasies of winning in exchange for the bigger prize of joint achievement and shared progress. l

Margaret Heffernan is the author of “A Bigger Prize: Why Competition Isn’t Everything and How We Do Better” (Simon & Schuster, £14.99)

This article first appeared in the 18 June 2014 issue of the New Statesman, Islam tears itself apart

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