Understanding the Taliban

Rethinking the war in Helmand has made the British army revise some of its basic assumptions. Workin

There is a popular slogan seen stencilled on American gun trucks: "We do bad things to bad people." Prince Harry had those words on the back of his cap. In the Afghanistan War, the difficulty is working out who those bad people are. An even tougher question is: which of them to kill, and which to put in positions of power and authority?

Winning the war here is not for the squeamish, and a long way from the "ethical foreign policy" of early new Labour. It all boils down to dealing with those bad men. Some of them are already our allies. Others, including men who are currently trying to kill our soldiers, will have a place as our future allies. As one intelligence officer said to me: "In this country, you get to power because, at one stage or another, you've done something really awful. You can't waste time looking for the good guys."

He was probably exaggerating. But you can still see the problem in Musa Qala, the former Taliban stronghold and opium bazaar, wrested back into coalition and government hands last December. I was present during that combat operation and watched as the Afghan flag was raised in the town centre. I have just returned from a trip back.

If you believe the chief of police of Helmand Province, Brigadier Moham mad Hussain Andiwal, the new district governor of Musa Qala is a "war cri m inal" who was invol ved in the slaughter of prisoners, and is a leading heroin dealer - although, given their past history, he may be overegging things a little. Andiwal is referring to Mullah Abdul Salaam, the Taliban com mander who switched sides and was appointed governor of the town in January by President Hamid Karzai, with British backing.

Karzai also sent back to Musa Qala its former police chief. Known to all as Commander "Coca", Andiwal is remembered by the British soldiers in the town two years ago chiefly for rumours that he and his men were kidnapping young boys from the streets.

Today - however unsavoury their pasts may be - both "Coca" and Mullah Salaam get cautious and qualified support from Britain. They get it because they are doing what the British need: establishing a presence for the Afghan government in a dangerous corner of Helmand, and helping to persuade both ordinary Afghan farmers and one-time enemy fighters that the smart move is to reject the Taliban.

Salaam, as a "reconciled" Taliban commander, has been in many ways a disappointment. When I was in Helmand last year, there was talk of his bringing over a large band of Taliban fighters to the government side. This never happened. But he has proved to be a persuader, travelling from village to village having outreach shuras (meetings) and telling people that the return of British and Afghan forces is the way ahead. He is doing so at great risk to his own life.

"I'm a marked man," he told me. "When you return to Musa Qala, I will most likely be dead."

I had tracked down Salaam while he was out of town, preparing to return to his governor's compound in liberated Musa Qala. The word was out that the Taliban were hoping to greet him or Coca with a suicide bomb.

With his great, bushy, black and silvery beard, flowing robes and curled slippers, Mullah Salaam cuts a striking figure. As his comments were being translated, he kept uttering a strange, rasping noise. He was in a gloomy mood, his head sinking steadily between his palms as he contemplated the gap between promises of redevelopment in Helmand and the grind of reality.

"I have promised the people so much," he said, "but we have delivered so little and people will turn on me. Everything comes so slowly." It wasn't foreigners such as the British he blamed, particularly. "The whole government here, they are all criminals," Mullah Salaam said. "They keep the money for themselves."

Situation report

It is very easy to be critical about British intervention in Afghanistan, particularly for the commentators who rest easy in their armchairs. If you looked at an honest situation report after two years of bloody fighting in Helmand, it would have to include some strong negatives: towns deserted due to fighting; an opium harvest so vast that some suggest only a lack of space prevents it getting any bigger; an enemy that still roams free in great swaths of the cultivated "green zone"; and an electricity supply to the towns which has got worse. Add to that an alliance with "friendly forces" which have proved to be deeply corrupt.

Where is the good news? It certainly does not come from winning the war. Soldiers will tell you that, despite some clear territorial gains, we are nowhere close to it. And yet, among the British, morale is pretty good. It comes not because there is an end in sight, but from a series of tactical successes and a sense that a strategy for a victory of sorts is at last evolving - and the resources to achieve this are gathering on the horizon. Above all, there is a feeling of relief that this is not Iraq.

As I reported in this magazine three years ago, it was hard to find a British officer in southern Iraq who believed the invasion had been a good idea. The aftermath was equally depressing: in Basra, soldiers complained of training Shia militiamen who were policemen by day and planted bombs to kill them at night; officers complained of supporting a Iraqi governor who was stealing oil revenues and in league with death squads. "In Afghanistan, the police may be just as corrupt," one senior officer told me, "but at least here they are on our side. They want to go and kill the Taliban."

For the soldiers, Afghanistan has, at least until now, provided an enemy that shows its face and which can be fought with the weapons soldiers have to hand, from SA80 rifles to artillery guns. At a higher level, however, commanders are less convinced by such logic. But they, too, learned bitter lessons in Iraq - and, after two years of sometimes pointless fighting in Helmand, there is a feeling that a road map of sorts is emerging which could ultimately lead British forces to some kind of success. Working with the likes of Mullah Salaam in Musa Qala is part of that new strategy.

Rethinking the war in Helmand has posed a challenge to some basic assumptions, among the greatest of which is our understanding of the enemy. After the 11 September 2001 attacks, when American and British forces first arrived in Afghanistan, a basic misunderstanding became the doctrine. Because the Taliban had sheltered al-Qaeda, the Taliban and al-Qaeda were wrongly labelled as a joint force.

More than six years later, the mistake is in continuing with those assumptions, imagining that the Taliban who fight British troops are merely proxies for Osama Bin Laden. Instead, as military intelligence officers will tell you, the new Taliban insurgency is a battle not for international jihad, but a struggle by tribes, factions and strongmen against an unpopular Afghan government that appeared to have abandoned the largely Pashtun south of the country.

While religious ideology, madrasas, training camps and volunteering for al-Qaeda have a role in creating the fanatics who come to Helmand to die in large numbers, Taliban commanders in the field, who send young Talibs into battle against the British, are often local men with local grievances, local pride and local ambitions, even if they take advice from the Taliban leadership in Pakistan. "You can't look at him and say that religion or ideology has anything to do with why he is fighting," said one British officer, talking of a prominent Taliban commander around Musa Qala. Tribal allegiance and the Pashtun code of honour, as well as the simple provocation that foreign troops represent, all play a part in motivating such men.

What this boils down to is a classic insurgency where some of our most ferocious enemies are potential allies. Few Afghans or Britons now believe that progress can be made without some form of reconciliation process taking place - or without working with those bad men. Most importantly in such an insurgency, as Mao Zedong said, "The people are like water and the army is like fish." Without the tacit support of the population of Helmand, the Taliban would flap around on dry land.

Imposing security

A T-shirt on sale at Kandahar Airport, and worn by some soldiers in Helmand, bears the words "Taliban Hunting Club". In Helmand, there has been plenty of killing. You can measure the rise in violence by the bullets and bombs. Each successive brigade in Helmand, except the last, has expended ammunition in ever greater quantities.

However, the grim truth, as soldiers in Helmand tell you, is that much of the bloodshed has been to no effect. Although a central zone of stability in the province has been gradually expanded, whole parts of the countryside have been "cleared" time and again, only for the Taliban to return. One former British commander bluntly called it "mowing the lawn". A scorecard would read simply: "Many Taliban dead; precious little territory gained."

And yet - as some commentators seem to have missed - the lesson is being learned. Last October, when a new British brigade took command in Helmand, its then commander, Brigadier Andrew MacKay, declared "a concept of operations" where the deaths of enemy soldiers were no longer a measure of success. "The population is the prize," wrote MacKay. A campaign based on counter-insurgency principles, he said, needed operations not so much designed for "kinetic effect" (inflicting physical damage on the enemy), but calibrated to "influence" the population: decreasing support for the enemy and increasing the standing of the Afghan government.

Defeating the Taliban was not the end goal of the campaign, he explained in an interview. Even if thoroughly beaten, they might linger on as a nuisance like the Real IRA "for a hundred years". The tactic was to disrupt them just enough for the Afghan government to be able to re-establish control - and to consolidate its hold with real gains for the local people.

Of course, such "hearts and minds" thinking was always part of the theory. The original British plan for Helmand, taking lessons from counter-insurgency in Malaya, spoke of "inkspots" of security, within which the population could see tangible development gains and in which solid support for the Afghan government could be established. These inkspots would, in theory, expand and then merge.

The reality was different. An understrength British force arriving in the summer of 2006 was spread thinly across the province. With little mobility, it became beleaguered in a series of encircled platoon houses, under constant Taliban attack. Even though the army successfully fought off the attacks, the towns became battlegrounds devastated by fighting. Development went backwards and support for the Taliban grew.

Since then, British objectives have been far more cautious. While UK troop strength has more than tripled (with more than 7,000 deployed to Helmand), MacKay's aim in the past six months was to get away from "mowing the lawn" and concentrate instead on consolidation: creating a lasting presence of British and Afghan forces that not only expands the so-called inkspots of security, but has a "civil effect", making life obviously better for ordinary people.

In practical terms, this has involved a big expansion of the chain of British forts - known as FOBs, or forward operating bases - as well as similar increases in patrol bases and checkpoints for the Afghan army and police, despite ongoing shortages in their numbers.

One example can be found around the market town of Sangin in northern Helmand, which was fought over and reduced to rubble during the first year of British intervention. A ring of new patrol bases has been positioned around the town. They have not halted the fighting, but they have brought a measure of relief to the town centre. The population has returned and some reconstruction has begun. A few bazaar traders even dare fly the Afghan national flag.

MacKay's philosophy of "population is the prize" had its greatest effect during December's military operation to retake Musa Qala, a town that in effect had been handed back to the Taliban just over a year earlier.

The deployment of thousands of British, American and Afghan troops around the target area achieved such an "overmatch" of forces, that, after some initial fierce fighting, the Taliban were forced to flee, allowing the recapture of the town with minimal destruction of property.

But key to the future was the arrival of a team of military development experts - a so-called "stabilisation team" - a day after the Afghan flag was raised. I watched as they unfolded precise blueprints for the construction of a new mosque, for the rebuilding and reopening of a school, and for roads and improvements to local water and power.

Three months later, when I returned, the impact of this strategy could be seen. The mosque project was still being held up by bureaucracy, but a small road had been built, the market had reopened, a health clinic was in operation, the school was up and running, with more than 800 pupils, and a cash-for-work scheme had been set up employing more than 300 people every day.

But if Musa Qala is the success story, it is still clear that fundamental problems remain. Even here - despite the concentration of British efforts - tangible gains for the population are slow in coming.

The most glaring problem is the limits to what the British soldiers themselves can do. While the strategy places "civil effect" centre stage, any kind of reconstruction requires an input from non-military sources, whether from the Foreign Office, from Afghan officials, or from civilian contractors. With the security situation still so unstable, their involvement is proving painfully slow in getting off the ground. "We have got to learn, and learn fast, to deliver aid and reconstruction not only when it's all quiet and peaceful, but under the noses of the enemy - while the mortars are still raining in," said one senior officer.

Yet the slow delivery of aid and reconstruction projects is not just down to security. It is also because British strategy relies on delivering most of its multimillion-pound aid budget by channelling it through the Afghan government in Kabul. For the soldiers on the ground - whose security depends on rapid action to win over the population - such a strategy can be hard to fathom. "All we can do in imposing security is buy time for the Afghan government to step up and do its job," said a British officer. "The problem is that we can't and won't stay here for ever; things have to move faster."

Meanwhile, the situation is getting more dangerous for the British. A softer, more end-focused approach will in all likelihood mean more bloodshed, not less. Getting the "hearts and minds" right means leaving the base and mixing with the population - and thereby facing a daily and increasing threat from suicide bombs, mines and roadside explosive devices.

Even as Helmand moves from blunt conventional war to a smarter counter-insurgency, don't expect a quick fix.

This article first appeared in the 28 April 2008 issue of the New Statesman, Everybody out!

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