Illustration by Nick Hayes for the New Statesman.
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What David Cameron can learn from Abraham Lincoln

Wearing the Union blue.

Abraham Lincoln’s Emancipation Proclamation of 1863 is one of the noblest statements ever delivered, and forcing the abolition bill through a reluctant Congress, as Steven Spielberg’s masterful Oscarnominated film attests, was a monumental achievement. But Lincoln’s principal contribution to American history was to save the Union, as those from the Southern states are quick to tell you. In the former Confederacy, the civil war is still called “the War Between the States”.

Lincoln confided his thoughts about secession and slavery in a letter of 1862. “If I could save the Union without freeing any slave I would do it, and if I could save it by freeing all the slaves I would do it; and if I could save it by freeing some and leaving others alone I would also do that,” he wrote. “What I do about slavery, and the coloured race, I do because I believe it helps to save the Union; and what I forbear, I forbear because I do not believe it would help to save the Union.”

His proclamation did not, in fact, free the slaves in the North, nor was he in a position to free slaves in the Confederate South, but, under his powers as commander-in-chief in wartime, he issued an executive order that freed all slaves in the Southern states as soon as they were occupied by the Union army.

It may at first seem a little far-fetched, but there are poignant similarities between the conundrum that Lincoln encountered 150 years ago and the dilemma David Cameron faces today. They are both confronted with threats to the very existence of the nations they govern. While Lincoln was obliged to respond to a fait accompli, a group of slave states that had decided before his election to wrest themselves from the Union, by force of arms if necessary, Cameron finds himself under siege on all sides. But while Lincoln was presented with the simple option of whether to take up arms to defend the Union or watch as his country split in two, Cam eron has no such easy choice.

In Scotland, the Scottish National Party has finally achieved what it has been dreaming of for 80 years. It has a mandate to demand from Westminster a referendum on whether, after three centuries united with England and Wales, Scotland should become a free nation again. The Union came about as a result of the Union of the Crowns, when the Scottish king James VI, son of Mary, Queen of Scots, acceded to the throne of England following the death of the childless Elizabeth I in 1603. It took a full century before the English and Scottish parliaments combined in the Acts of Union of 1707. Lincoln was obliged to defend a union barely 90 years old; Cameron must protect a union that has lasted more than 300 years.

In Ireland, Cameron presides over the latest skirmish in a bloody struggle that has lasted much longer. The colonisation of Ireland was messy and brutal from the start, and the independence wrested from Britain in 1922 left the northern, overwhelmingly Protestant and unionist part of the island in British hands. A border had to be drawn somewhere, leaving many who would prefer to live in the republic stranded in a British province. The continuing troubles offer a challenge to Cameron to find a permanent peace. No less than in Scotland, British sovereignty and British lives are severely at risk.

Then there is the European Union. Those with a sense of history will remember that joining Europe was always predominantly a Conservative project. It was Harold Macmillan, with Edward Heath at his side, who first flirted with the continentals in 1961 and had his overture rudely rebuffed by Charles de Gaulle’s “Non!”. Heath the eternal bachelor then made it his life’s mission to make a marriage with the Europeans and the lasting legacy of his otherwise awkward, chilly and ultimately tragic premiership was British entry into the European Economic Community in 1973. As Cameron must be all too aware, the principled Heath condemned the referendum that Harold Wilson called on European membership two years later as a shabby gimmick, designed to appease internal Labour divisions over the Common Market.

Since the moment when Heath’s successor Margaret Thatcher – who had campaigned in favour of remaining in Europe in 1975 – began arguing, as prime minister after 1979, against closer European union, the Conservatives have been profoundly and openly divided on the matter. The rupture over Europe, even more than Thatcher’s unpopular poll tax, led to her defenestration by cabinet colleagues in 1990. John Major’s leadership of the Tories was blighted by the question of Europe; and the election of three Eurosceptic leaders in a row – William Hague, Iain Duncan Smith and Michael Howard – did not settle the matter.

Cameron’s inheritance is a party facing both ways on Europe, and his inability to reconcile the opposing forces has given rise to a challenge for the affections of his patriotic electoral base from the anti-European Ukip. Although Ukip’s leader, Nigel Farage, along with every other Ukip candidate, failed to win a Commons seat in 2010 (Farage was beaten by a candidate dressed as a dolphin), his party stole enough votes from the Conservatives to deprive Cameron of a parliamentary majority.

When he dreamed of leading his party, Cameron could never have imagined that Britain’s existence would be subject to a three-pronged attack. But he finds himself in the same position as today’s Republican leadership in America, under assault from angry rank and file who feel they are being ignored and betrayed by their leaders. The Republicans, once the proud “party of Lincoln”, have evolved into a testy vehicle for insurgent mavericks and malcontents.

To add insult to indignity, the “Grand Old Party”, which once bravely saved the Union, is the home of a new secessionist movement. Having failed to devolve substantial powers from the federal government to the states, many are demanding independence. At present, eight states, all from the defeated Confederacy, have petitioned the White House to be allowed to secede: Texas, Louisiana, Florida, Georgia, Tennessee, North Carolina, Alabama and South Carolina. The muddled, ahistorical thinking behind the treacherous talk is evident in the argument proffered by the libertarian Ron Paul: “It’s very American to talk about secession. That’s how we came into being.”

On a personal level, there are as few similarities between Cameron and Lincoln as between Jacob and Esau. Lincoln was brought up in a sparsely furnished log cabin and, much to his ignorant father’s despair, taught himself to read and write, eventually emerging as a jobbing country lawyer in Illinois. Cameron, as we know, was the son of high privilege. Everyone who met Lincoln commented on his rough looks and his even rougher clothes. Cameron’s smooth, unlined face betrays an easy, affluent, well-fed life.

Both men, however, could be described more accurately as Whigs than Conservatives, in their commitment to parliament or Congress over absolute powers held by the monarch or president. Indeed, Lincoln was an old American Whig before he joined the Republicans over the issue of abolition. Allied to their commitment to rewarding individual effort, irrespective of background, is a strong, Protestant sense that their good fortune entails paying something back. Despite his comfortable circumstances, Cameron has argued that “it’s where you are going to, not where you have come from, that matters”. In a decisive break from the philosophy of heroic individualism that inspired Thatcher, he believes “there is such a thing as society”.

As well as soaring ambition, the two men share other similarities. Both are most eloquent when they do not refer to notes. Although stiff and wooden at first, Lincoln’s speeches gathered pace and by the peroration he would be ripping off his necktie, loosening his starched collar and throwing his arms around like a deranged windmill. “His pronunciation is bad, his manners uncouth and his general appearance anything but prepossessing,” is how one eyewitness described his platform presence.

Cameron’s delivery is calm, ordered and deliberate. His speech to the Tory party conference in 2005, delivered without notes, may not have been as powerful and inspirational as the 268 words of Lincoln’s Gettysburg Address of 1863, which would be a tall order for anyone except, perhaps, Winston Churchill. But the performance at Blackpool, in its carefully pitched content tailored to the party faithful and the confidence of its delivery, ensured his election as leader.

Lincoln took into his administration the big beasts of the Republican Party whom he had beaten to the Republican nomination: William H Seward, Salmon P Chase and Edward Bates. And Cameron, too, assembled a team of former rivals. To become Tory leader, he saw off David Davis, Liam Fox and Kenneth Clarke, all of whom he invited into his shadow cabinet. Like Lincoln, Cameron leads his disparate colleagues with the minimum of friction. But there the favourable comparisons between the two leaders start to run out.

Lincoln was always a man of principle rather than pragmatism. He could be rash, failing to hold his tongue in the presence of those he knew disagreed with him, and found it difficult to compromise even when it was in his best interest to do so. Nowhere was this more obvious and powerful than when he spelled out, years before running for the White House, what he felt about race.

He declared that when the Founding Fathers wrote, “We hold these truths to be selfevident: that all men are created equal,” they meant “the whole great family of man” and not merely those with white faces. Lincoln said the founders knew enough about human nature to imagine that, “in the distant future”, people would emerge who would “set up the doctrine that none but rich men, or none but white men, were entitled to life, liberty and the pursuit of happiness”. But he was certain that racism could never have been in the founders’ minds and he would have none of it.

In comparison to this eloquent statement of principle, just one among dozens that Lincoln crisply articulated in his short life, Cam - eron emerges as a dissembler, always alert for a way to delay taking a stand, ever ready with the smudgy phrase and the tactical retreat. Let us give him a pass on Ireland. Few have got it right and it may well be insoluble so long as a vociferous minority in Northern Ireland demands the impossible and the intractable majority insists on being British. In Scotland, however, when the SNP obtained a majority in the Scottish Parliament and claimed a mandate to call a referendum on independence, Cameron readily ignored Lincoln’s example to resist the dissolution of the Union and readily agreed to Alex Salmond’s demands.

In calling an all-or-nothing, in-out referendum on independence next year in Scotland only, David William Donald Cameron, to give him his full, Scots-derived name, failed to question the legality of one half of the nation being able to secede from the other on its own cognisance. Instead, he conceded the principle that if the referendum records a majority of Scots in favour of secession, that is enough to grant a divorce, as if England, Wales and Northern Ireland, and the Scots living in the rest of Britain, were not entitled to a say in the dissolution of the United Kingdom. “I’m not going to stand here and suggest Scotland couldn’t make a go of being on its own, if that’s what people decide,” Cameron said. “There are plenty of small, independent nation states of a similar size or even smaller. Scotland could make its way in the world alongside countries like those.”

Lincoln would never have yielded on such a fundamental principle. As he put it, “If we do not make common cause to save the good old ship of the Union on this voyage, nobody will have a chance to pilot her on another voyage.”

When Cameron conceded the principle that one part of the United Kingdom may constitutionally break from the rest, he also declared himself “ready for the fight for our country’s life”. He appears to be in favour of two incompatible principles, the right of Britain to remain a nation and the right of Scotland to secede. He then adopts the principle that gives Scotland the moral right to secede to inform his party’s demand that Britain be allowed to renegotiate a looser union with our European partners. What, then, is Cameron’s guiding principle when dealing with Scotland and the European Union? There is none. Both are craven acts of political expedience. His promise of a referendum on British membership of the EU is largely an attempt to save the Conservatives from being driven from office by Ukip.

Cameron’s answer to the Ukip threat to the renewal of his Downing Street lease is to avoid saying exactly what the relationship between Britain and the EU should be, because plainly he doesn’t know where the line should be drawn. Instead he abrogates the responsibility of a true leader and, in the hope of being re-elected, promises an in-out referendum on EU membership, so long as he is re-elected. As Lincoln asked, “What is conservatism? Is it not adherence to the old and tried against the new and untried?”

Cameron is less a conservative than a trimmer, less a Heath than a Wilson, less a That - cher than a Blair.

When Lincoln confronted the break-up of the United States, he borrowed from the Gospel according to Saint Matthew: “A house divided against itself cannot stand.” To avoid the consequences of the Conservatives’ deeply divided house, Cameron is willing to risk the dissolution of the United Kingdom and British withdrawal from the European Union. Both are too high a price to pay for trying to bridge the irrevocable schism in the Tory ranks.

Nicholas Wapshott’s most recent book is “Keynes Hayek: the Clash That Defined Modern Economics” (W W Norton, £12.99)

Nicholas Wapshott’s Keynes Hayek: the Clash That Defined Modern Economics is published by W W Norton (£12.99)

This article first appeared in the 11 February 2013 issue of the New Statesman, Assange Alone

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