The jobseeker rejects the moralised figure of the downtrodden and out of luck. It is the inverse of a figure like Daniel Blake, as seen in Ken Loach’s critically acclaimed 2016 film I, Daniel Blake. Rather than raising consciousness through sympathy, depicting, through a fiction, the abject reality of the British welfare state, Williamson instead raises consciousness through bloody-mindedness, bottling the shame of class subordination and weaponizing it. This is not to say the Sleaford Mods’ rejection of a Ken Loach image is a rejection of that form of political consciousness; it simply offers up an inverse image of proletarian subjectivity: ejected from the system and loving it. “Jobseeker” reinvigorates Lyotard’s “desire-drunk yes”, in this sense, affirming the fact that this uneasy subjugation is what makes the working class a threat to the system itself. Fuck your middle-class propriety! I’ve got desires to pursue…