Bowie himself deals with a lot of these heady issues in various ways on songs like “Fame”, “’Heroes’”, “Teenage Wildlife” and "Ashes to Ashes”, so I might come back to them next time. The point I wanted to make is that Bowie was in the midst of becoming a bona fide superstar during the recording of Aladdin Sane. Along with the album’s shoddier sound, the songs together suggest that the decadent ethos of his music and public persona had now completely spilled over into the reality of his life. Performance and reality became increasingly fused together, and the resulting concoction was the harrowing portrait of spiritual illness that comes across on Aladdin Sane. The major symptom of the illness is a fever hot enough to fuel one last gasp of unholy passion. You can hear it especially in the way Bowie cries 'Let yourself go!' in "The Jean Genie," and in the lurid imagery of "Cracked Actor", which sounds like something lifted from the pages of Hollywood Babylon or City of Night... But once again, Bowie saves the most haunting moment for last, closing Aladdin Sane with “Lady Grinning Soul.” As Mike Garson’s piano tinkers in the background, like the gentle feel of a lover's fingertips, or the weightless sensation one has after the first fateful taste of an addictive drug, Bowie sings, ‘touch the fullness of her breast, feel the love in her caress…She will be your living end.'
Because of the things she did in the streets
In the alleys and bars no she couldn't be beat