You may not think you’re familiar with Moby’s music, but you’ve probably heard quite a few of the songs on his latest release, "Go: The Very Best of Moby." While his music hasn’t made a huge impact on radio, it’s been featured in numerous television shows, movies and advertisements.

"One of the reasons I’ve allowed my music to be used in TV shows or movies or advertisements is basically just because when I make a record, I’m selfish, and I would like people to hear it," the artist, whose real name is Richard Hall, says. "The music I make has not traditionally gotten a lot of radio support, so you basically have to avail yourself of other ways to get people to hear your music. One of the best ways of doing that is by letting it to be used in movies and TV shows."

Of course, that’s not without consequences. Moby has often been criticized for allowing his music to be used so often. ADVERTISEMENT

"To some extent, I might agree with them," he says. "On one hand, I wanted my music to be heard. But on the other hand, I definitely think it went too far. There was a period, five or six years ago, where my music was far too ubiquitous. In some ways, I regret allowing it to be licensed as much as I did."

Ultimately, Moby is pleased with the current best-of collection, even though it ignores some of the stranger, more obscure music he’s made over the years. He’s reluctant to say whether or not some of that music belongs here.

"My perspective on my own music is kind of flawed because I lack objectivity when it comes to judging my own music," he says. "I really love the music that’s on this record, but I’ll always have a very special place in my heart for the more obscure, esoteric stuff that no one’s heard."

Apart from a retrospective on Moby’s career, "Go" also offers a new song, "New York, New York," (not to be confused with the Sinatra standard) that features vocals from Blondie singer Debbie Harry.

"It was really satisfying because I’ve been a big fan of hers for a long time, and getting to know her while working on this, I found her to be an incredibly intelligent, erudite and aware person," Moby says.

He also found that the two have similar New York roots. He describes the song as a "light-hearted disco song about debauchery in New York City," and it’s something both he and Harry know about firsthand.

"We both know what it’s like to be at CBGBs at 3 o’clock in the morning, drunk out of our minds," he says. "We both know what it was like, 15 or 20 years ago, to walk through Lower Manhattan and feel like you were taking your life in your hands. She and I definitely have a lot of similar frames of reference."

The musician has also been often criticized for his outspoken political views, perhaps another trait gained from coming up in New York.

"Record sales are nice, but I think being politically engaged and trying to make the world a better place is more important than trying to sell records."

Fans will also get to hear more of Moby on the big screen when director Richard Kelly’s latest movie, "Southland Tales," arrives. Moby says he’s been reluctant in the past to do movie scores because of the lack of creative input, but this one was different.

"Richard and I started talking about the music even before he had a finished script, so I felt much more involved in the process and, as a result, it was creatively much more satisfying."