Crushed by the wheels of industry: critics increasingly see new tech as one of the free market's most dangerous tools of oppression. Image: Ikon Images
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The new Luddites: why former digital prophets are turning against tech

Neo-Luddism began to emerge in the postwar period. First after the emergence of nuclear weapons, and secondly when it became apparent new computer technologies had the power to change our lives completely.

Very few of us can be sure that our jobs will not, in the near future, be done by machines. We know about cars built by robots, cashpoints replacing bank tellers, ticket dispensers replacing train staff, self-service checkouts replacing supermarket staff, tele­phone operators replaced by “call trees”, and so on. But this is small stuff compared with what might happen next.

Nursing may be done by robots, delivery men replaced by drones, GPs replaced by artificially “intelligent” diagnosers and health-sensing skin patches, back-room grunt work in law offices done by clerical automatons and remote teaching conducted by computers. In fact, it is quite hard to think of a job that cannot be partly or fully automated. And technology is a classless wrecking ball – the old blue-collar jobs have been disappearing for years; now they are being followed by white-collar ones.

Ah, you may say, but human beings will always be better. This misses the point. It does not matter whether the new machines never achieve full human-like consciousness, or even real intelligence, they can almost certainly achieve just enough to do your job – not as well as you, perhaps, but much, much more cheaply. To modernise John Ruskin, “There is hardly anything in the world that some robot cannot make a little worse and sell a little cheaper, and the people who consider price only are this robot’s lawful prey.”

Inevitably, there will be social and political friction. The onset has been signalled by skirmishes such as the London Underground strikes over ticket-office staff redundancies caused by machine-readable Oyster cards, and by the rage of licensed taxi drivers at the arrival of online unlicensed car booking services such as Uber, Lyft and Sidecar.

This resentment is intensified by rising social inequality. Everybody now knows that neoliberalism did not deliver the promised “trickle-down” effect; rather, it delivered trickle-up, because, even since the recession began, almost all the fruits of growth have gone to the rich. Working- and middle-class incomes have flatlined or fallen. Now, it seems, the wealthy cyber-elites are creating machines to put the rest of us out of work entirely.

The effect of this is to undermine the central argument of those who hype the benefits of job replacement by machines. They say that new and better jobs will be created. They say this was always true in the past, so it will be true now. (This is the precise correlative of the neoliberals’ “rising tide floats all boats” argument.) But people now doubt the “new and better jobs” line trotted out – or barked – by the prophets of robotisation. The new jobs, if there are any, will more probably be serf-like attenders to the needs of the machine, burger-flippers to the robot classes.

Nevertheless, this future, too, is being sold in neoliberal terms. “I am sure,” wrote Mitch Free (sic) in a commentary for Forbes on 11 June, “it is really hard [to] see when your pay check is being directly impacted but the reality to any market disruption is that the market wants the new technology or business model more than they want what you offer, otherwise it would not get off the ground. The market always wins, you cannot stop it.”

Free was writing in response to what probably seemed to him a completely absurd development, a nightmarish impossibility – the return of Luddism. “Luddite” has, in the past few decades, been such a routine term of abuse for anybody questioning the march of the machines (I get it all the time) that most people assume that, like “fool”, “idiot” or “prat”, it can only ever be abusive. But, in truth, Luddism has always been proudly embraced by the few and, thanks to the present climate of machine mania and stagnating incomes, it is beginning to make a new kind of sense. From the angry Parisian taxi drivers who vandalised a car belonging to an Uber driver to a Luddite-sympathetic column by the Nobel laureate Paul Krugman in the New York Times, Luddism in practice and in theory is back on the streets.

Luddism derives its name from Ned Ludd, who is said to have smashed two “stocking frames” – knitting machines – in a fit of rage in 1779, but who may have been a fictional character. It became a movement, with Ludd as its Robin Hood, between 1811 and 1817 when English textile workers were threatened with unemployment by new technology, which the Luddites defined as “machinery hurtful to Commonality”. Mills were burned, machinery was smashed and the army was mobilised. At one time, according to Eric Hobsbawm, there were more soldiers fighting the Luddites than were fighting Napoleon in Spain. Parliament passed a bill making machine-smashing a capital offence, a move opposed by Byron, who wrote a song so seditious that it was not published until after his death: “. . . we/Will die fighting, or live free,/And down with all kings but King Ludd!”

Once the Luddites had been suppressed, the Industrial Revolution resumed its course and, over the ensuing two centuries, proved the most effective wealth-creating force ever devised by man. So it is easy to say the authorities were on the right side of history and the Luddites on the wrong one. But note that this is based on the assumption that individual sacrifice in the present – in the form of lost jobs and crafts – is necessary for the mechanised future. Even if this were true, there is a dangerous whiff of totalitarianism in the assumption.

Neo-Luddism began to emerge in the postwar period. First, the power of nuclear weapons made it clear to everybody that our machines could now put everybody out of work for ever by the simple expedient of killing them and, second, in the 1980s and 1990s it became apparent that new computer technologies had the power to change our lives completely.

Thomas Pynchon, in a brilliant essay for the New York Times in 1984 – he noted the resonance of the year – responded to the first new threat and, through literature, revitalised the idea of the machine as enemy. “So, in the science fiction of the Atomic Age and the cold war, we see the Luddite impulse to deny the machine taking a different direction. The hardware angle got de-emphasised in favour of more humanistic concerns – exotic cultural evolutions and social scenarios, paradoxes and games with space/time, wild philosophical questions – most of it sharing, as the critical literature has amply discussed, a definition of ‘human’ as particularly distinguished from ‘machine’.”

In 1992, Neil Postman, in his book Technopoly, rehabilitated the Luddites in response to the threat from computers: “The term ‘Luddite’ has come to mean an almost childish and certainly naive opposition to technology. But the historical Luddites were neither childish nor naive. They were people trying desperately to preserve whatever rights, privileges, laws and customs had given them justice in the older world-view.”

Underpinning such thoughts was the fear that there was a malign convergence – perhaps even a conspiracy – at work. In 1961, even President Eisenhower warned of the anti-democratic power of the “military-industrial complex”. In 1967 Lewis Mumford spoke presciently of the possibility of a “mega-machine” that would result from “the convergence of science, technics and political power”. Pynchon picked up the theme: “If our world survives, the next great challenge to watch out for will come – you heard it here first – when the curves of research and development in artificial intelligence, molecular biology and robotics all converge. Oboy.”

The possibility is with us still in Silicon Valley’s earnest faith in the Singularity – the moment, possibly to come in 2045, when we build our last machine, a super-intelligent computer that will solve all our problems and enslave or kill or save us. Such things are true only to the extent to which they are believed – and, in the Valley, this is believed, widely.

Environmentalists were obvious allies of neo-Luddism – adding global warming as a third threat to the list – and globalism, with its tendency to destroy distinctively local and cherished ways of life, was an obvious enemy. In recent decades, writers such as Chellis Glendinning, Langdon Winner and Jerry Mander have elevated the entire package into a comprehensive rhetoric of dissent from the direction in which the world is going. Winner wrote of Luddism as an “epistemological technology”. He added: “The method of carefully and deliberately dismantling technologies, epistemological Luddism, if you will, is one way of recovering the buried substance upon which our civilisation rests. Once unearthed, that substance could again be scrutinised, criticised, and judged.”

It was all very exciting, but then another academic rained on all their parades. His name was Ted Kaczynski, although he is more widely known as the Unabomber. In the name of his own brand of neo-Luddism, Kaczynski’s bombs killed three people and injured many more in a campaign that ran from 1978-95. His 1995 manifesto, “Industrial Society and Its Future”, said: “The Industrial Revolution and its consequences have been a disaster for the human race,” and called for a global revolution against the conformity imposed by technology.

The lesson of the Unabomber was that radical dissent can become a form of psychosis and, in doing so, undermine the dissenters’ legitimate arguments. It is an old lesson and it is seldom learned. The British Dark Mountain Project (dark-mountain.net), for instance, is “a network of writers, artists and thinkers who have stopped believing the stories our civilisation tells itself”. They advocate “uncivilisation” in writing and art – an attempt “to stand outside the human bubble and see us as we are: highly evolved apes with an array of talents and abilities which we are unleashing without sufficient thought, control, compassion or intelligence”. This may be true, but uncivilising ourselves to express this truth threatens to create many more corpses than ever dreamed of by even the Unabomber.1

Obviously, if neo-Luddism is conceived of in psychotic or apocalyptic terms, it is of no use to anybody and could prove very dangerous. But if it is conceived of as a critical engagement with technology, it could be useful and essential. So far, this critical engagement has been limited for two reasons. First, there is the belief – it is actually a superstition – in progress as an inevitable and benign outcome of free-market economics. Second, there is the extraordinary power of the technology companies to hypnotise us with their gadgets. Since 1997 the first belief has found justification in a management theory that bizarrely, upon closer examination, turns out to be the mirror image of Luddism. That was the year in which Clayton Christensen published The Innovator’s Dilemma, judged by the Economist to be one of the most important business books ever written. Christensen launched the craze for “disruption”. Many other books followed and many management courses were infected. Jill Lepore reported in the New Yorker in June that “this fall, the University of Southern California is opening a new program: ‘The degree is in disruption,’ the university announced.” And back at Forbes it is announced with glee that we have gone beyond disruptive innovation into a new phase of “devastating innovation”.

It is all, as Lepore shows in her article, nonsense. Christensen’s idea was simply that innovation by established companies to satisfy customers would be undermined by the disruptive innovation of market newcomers. It was a new version of Henry Ford and Steve Jobs’s view that it was pointless asking customers what they want; the point was to show them what they wanted. It was nonsense because, Lepore says, it was only true for a few, carefully chosen case histories over very short time frames. The point was made even better by Christensen himself when, in 2007, he made the confident prediction that Apple’s new iPhone would fail.

Nevertheless, disruption still grips the business imagination, perhaps because it sounds so exciting. In Luddism you smash the employer’s machines; in disruption theory you smash the competitor’s. The extremity of disruptive theory provides an accidental justification for extreme Luddism. Yet still, technocratic propaganda routinely uses the vocabulary of disruption theory.

Meanwhile in the New York Times, Paul Krugman wrote a very neo-Luddite column that questioned the consoling belief that education would somehow solve the probem of the destruction of jobs by technology. “Today, however, a much darker picture of the effects of technology on labour is emerging. In this picture, highly educated workers are as likely as less educated workers to find themselves displaced and devalued, and pushing for more education may create as many problems as it solves.”

In other words – against all the education boosters from Tony Blair onwards – you can’t learn yourself into the future, because it is already owned by others, primarily the technocracy. But it is expert dissidents from within the technocracy who are more useful for moderate neo-Luddites. In 2000, Bill Joy, a co-founder of Sun Microsystems and a huge figure in computing history, broke ranks with an article for Wired entitled “Why the future doesn’t need us”. He saw that many of the dreams of Silicon Valley would either lead to, or deliberately include, termination of the human species. They still do – believers in the Singularity look forward to it as a moment when we will transcend our biological condition.

“Given the incredible power of these new technologies,” Joy wrote, “shouldn’t we be asking how we can best coexist with them? And if our own extinction is a likely, or even possible, outcome of our technological development, shouldn’t we proceed with great caution?”

Finally, there is Jaron Lanier, one of the creators of virtual reality, who lost faith in the direction technology was taking when his beloved music industry was eviscerated by the destruction of jobs that followed the arrival of downloading. Why, he repeatedly asks in books such as You Are Not a Gadget, should we design machines that lower the quality of things? This wasn’t what the internet was supposed to do.

Moderate neo-Luddism involves critical scepticism about the claims by the makers of the new machines and even more critical scepticism about the societies – primarily Silicon Valley – from which these anti-human ideas spring. At least now there is a TV satirical comedy about the place – HBO’s Silicon Valley – which will spread the news that the technocracy consists of very strange people who are, indeed, capable of building “machinery hurtful to Commonality”. The running joke in the first episode was about the way the technocrats always claim to be working to make a better world. As if.

Luddite laughter is a start. But there’s a long way to go before the technology beast is tamed. For the moment, you still may lose your job to a machine; but at least you can go down feeling and thinking – computers can’t do either. 

@bryanappleyard

Update 11 September 11am:


1The New Statesman has published the following letter in response to this article:

Bryan Appleyard’s article on “the new Luddites” (above) gave a rather misleading picture of the Dark Mountain Project, which apparently represents “a form of psychosis” likely to “create more corpses than ever dreamed of by even the Unabomber”. In reality, we are a network of writers, artists and thinkers, centred on the Dark Mountain journal. We publish two books of new work every year, much of it involving exactly the kind of “critical engagement” with technology for which Appleyard calls.

According to the New York Times, a publication not noted for its homicidal or psychotic tendencies, Dark Mountain is “changing the environmental debate in Britain and the rest of Europe”. We won’t speculate about Appleyard’s mental health or criminal intentions, but we do hope that the editors of the NS require a higher standard of research from him in future.

Dougald Hine, Paul Kingsnorth
Directors
Dark Mountain Project

 

This article first appeared in the 20 August 2014 issue of the New Statesman, What the Beatles did for Britain

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