♪♪ ♪ Ground control to Major Tom ♪ Ground control to Major Tom ♪ Take your protein pills and put your helmet on ♪ ♪ Ground control to Major Tom I hope you don't mind me doing this.

There are some balloons behind you.

Perfect celebratory items.

[ Camera shutter clicks ] So what's it for?

Well, a magazine with obviously a substantial budget have bought and given me a camera.

And a few packs of film, and I've got to record between 50 and 70 working days visually.

So that's a Polaroid or two a day.

Thank you very much.

Pleasure.

Happy birthday, by the way.

Thank you.

And how does it feel to be 50 years old, half a century and still a pop star?

Um...

I suppose the thing that comes to mind is that I'm very lucky to still be doing the one thing that gave me a reason for living when I was very young, that I'm still actively enjoying the process of writing and performing and the very same things that I was doing when I was 16 years old.

[ Cheers and applause ] ♪♪ ♪♪ ♪ Ooh, yeah ♪♪ ♪ Ah ♪♪ ♪ Ziggy played guitar ♪ Jamming good with Weird and Gilly ♪ ♪ And the Spiders from Mars ♪ He played it left hand ♪ But he made it too far ♪ Became the special man ♪ Then we were Ziggy's band Yentob: Ever since David Bowie, alias Ziggy Stardust, burst on the scene in the early '70s, he's been one of rock's most extravagant and consistently inventive performers.

In the fragile world of rock reputations, Bowie has stayed ahead, his restlessness and his energy delighting, if sometimes bewildering, his followers.

♪ Snow-white tan ♪ So where were the spiders ♪ While the fly tried to break our bones?

♪ [ Siren wails ] Oh, we're not stopped.

Is there anything behind us?

-No.

[ Speaking indistinctly ] Yentob: I first met David Bowie when I made a film about him in 1975.

Already hugely successful, he'd come to America on a rock 'n' roll quest for the bizarre and the extreme.

The film was called "Cracked Actor" after the song that I felt best described him at that time, trying on new roles with manic creativity.

♪ Crack, baby, crack ♪ Show me you're real ♪ Smack, baby, smack ♪ All that you feel ♪ Suck, baby, suck ♪ Give me your head ♪ Before you start professing ♪ That you're knocking me dead When I made that film "Cracked Actor" about you, I was going to call it "The Collector," you know, or "The Impressionist" or something, because you've always taken things from other places, from books, from ideas.

That's probably what I'm best at doing.

I'm not an original thinker.

What I'm probably best at doing is synthesizing those things in society or culture that I find rivetingly exciting.

And I guess what I end up doing is refracting those things.

Uh, I'm producing some kind of glob of how it is that we live at this particular time.

I'm not a guy that gets on stage and tells you how my day has just gone.

Straight from the heart.

I couldn't do that.

I love what artists who do do that, and I admire them tremendously.

I don't have that talent.

And it's not a thing that interests me.

[ Vocalizes ] ♪ Call them the Diamond Dogs [ Vocalizes ] ♪ Call them the Diamond Dogs ♪ Yeah, yeah, yeah ♪ Call them the Diamond, call them the Diamond ♪ ♪ Call them ♪♪ ♪ Ooh ♪ Diamond Dogs Yentob: People might accuse you of being cool and dispassionate in what you do.

Do you think that's fair?

-Oh, they have done.

It's not "they might."

They do.

I'm being polite, that's all.

After all, it's your birthday.

Very polite gentleman.

So what would you -- how would you counter that, given that you're so -- I don't.

I have no answer for that.

I mean, that's entirely their opinion.

They're quite welcome to it.

But you think you're intuitive, don't you?

Yeah.

My feet are very planted in today.

In now.

My staff has never -- It's -- I've never wanted to presume that there's anything in the area of prophecy culturally about what I do.

Well, it's more about antennae than it is about actually understanding a situation.

Yentob: From the beginning, Bowie was attracted to outsiders, to the displaced, where the lost in space or sexually ambiguous or just lonely like the girl in his classic "Life on Mars?"

♪♪ ♪ It's a God-awful small affair ♪ ♪ To the girl with the mousy hair ♪ ♪ But her mommy is yelling "no" ♪ ♪ And her daddy has told her to go ♪ ♪ But her friend is nowhere to be seen ♪ ♪ Now she walks through her sunken dream ♪ ♪ To the seat with the clearest view ♪ ♪ And she's hooked to the silver screen ♪ ♪ But the film is a saddening bore ♪ ♪ For she's lived it ten times or more ♪ ♪ She could spit in the eyes of fools ♪ ♪ As they ask her to focus on ♪ Sailors fighting in the dance hall ♪ ♪ Oh, man, look at those cavemen go ♪ ♪ It's the freakiest show ♪ Take a look at the lawman ♪ Beating up the wrong guy ♪ Oh, man, wonder if he'll ever know ♪ ♪ He's in the best-selling show ♪ ♪ Is there life on Mars?

♪♪ Yentob: She may be an ordinary girl sitting in the cinema.

But isn't she as alienated as any of your other characters?

I think she finds herself let down.

I think she finds herself disappointed by reality.

I think she sees that although she's living in the doldrums of reality, she's being told that there is a far greater life somewhere and she's bitterly disappointed that she doesn't have access to it.

It's very hard to think back to one's state of mind so many -- That's almost 30 years ago.

25 years ago.

I understand it from -- I understand it as now I feel -- Now I feel -- I would feel -- I guess I would feel sorry for her now.

I think I had empathy with her at the time.

That's probably the difference.

Yentob: Bowie's 30-year career has spanned a bewildering variety of incarnations, each signaling a change of personal and musical direction.

The tormented "Aladdin Sane," the elegant but icy Thin White Duke, the artist of the avant-garde, and the first and most spectacular, alien superstar Ziggy Stardust.

♪♪ ♪ So where were the spiders ♪ While the fly tried to break our bones?

♪ ♪ Just the beer light to guide us ♪ ♪ So we...about his fans ♪ And should we crush his sweet hands?

♪ ♪♪ ♪ Oh, yeah I mean, where did Ziggy come from in terms of, you know -- I know we've heard -- People know a lot about Ziggy, but where was -- Was there an actual character or anything at all that actually drew that portrayal out of you?

Funnily enough, it was actually based on a real person.

There was an American rock singer in the -- I guess he would have come out of the late '50s, late '50s, early '60s called Vince Taylor.

Who possibly -- I met him a few times in the mid '60s.

In fact, I went to quite a few parties with him.

♪ Well, my baby drove up in a brand-new Cadillac ♪ Bowie: Vince Taylor was trying to make his way in Britain.

He couldn't -- He couldn't crack the States.

He was sort of real B-list, C-list over there, in fact.

So he decided he was going to try and do it in England.

And he was out of his gourd, totally flipped.

I mean, the guy was not playing with a full deck at all.

And he used to carry maps of Europe around with him.

And I remember very distinctly him opening a map out on Charing Cross Road outside the tube station and putting it on the pavement and kneeling down with a magnifying glass.

And I got down there with him and he was pointing out all the sites where UFOs were going to be landing over the next few months.

And he had a firm conviction that there was a very strong connection between himself, aliens and Jesus Christ.

Those are the three elements that went into his makeup and drove him.

He eventually went to France and became a huge rock star over there.

And one night he decided he'd had enough.

So he came out on stage in white robes and said that the whole thing about rock had been a lie, that in fact he was Jesus Christ and it was the end of Vince, his career and everything else.

And it was -- it was that and his story which really became one of the essential ingredients of Ziggy and his worldview.

♪♪ ♪ Like a leper messiah ♪ When the kids had killed the man ♪ ♪ I had to break up the band ♪♪ ♪ Oh, yeah ♪♪ ♪ Ooh-ooh-ooh ♪♪ ♪ Ooh-ooh-ooh ♪♪ ♪ Ziggy played guitar ♪♪ But it was him.

His complete otherness.

I'm terribly attracted to people like that.

The other people.

And that otherness thing, of course, is a very big thing in all the characters you created.

Yes, it is.

Yeah.

So from, you know, whether it's the character in "Space Oddity" or, you know, "Aladdin Sane" and that touching of madness which...

Which in a sense you're -- you don't -- you're not frightened of it in quite that way.

Or how would you -- I think maybe that's not entirely true.

I have maybe only a wariness of it these days.

I'm not -- I think it's been fairly well-recorded that my family is pretty rampantly... What's the word?

I think I'm not so sure how much of it is madness.

I think there's an awful lot of...

There's an awful lot of emotional and spiritual mutilation that goes on in my family.

And I think to a certain extent it's touched me in various ways over the years.

No longer I think.

It doesn't -- It's not a situation that has the same degree of fright for me that possibly it had when I was much younger.

Now, you've said that to me on other occasions, but because of the last few years and because I've seen you and how you've grown, I kind of -- I believe you now.

I didn't believe you 20 years ago when you said to me, "I'm me, guv," or whatever you said.

Not dissimilar to that, but I sense a sort of stability there, an anchor there now in your...

Yes.

Yeah.

Have you just found it, do you think, in the last few years?

Don't know, you know.

I think I found a greater freedom within my life by being more accepting of it.

Not running and searching so desperately for some holy grail.

For some -- some certainty, you know, which I think I probably felt more than others that I needed.

I think that I felt often, ever since I was a teenager, so adrift and so not part of everyone else, with so many dark secrets about my family and the cupboard that I probably -- it kind of made me feel very much on the outside of everything.

And because of that, I felt probably that there was no basis to my life like everybody else seemed to have.

Which of course is ridiculous.

But you don't know.

And therefore, probably I would do things to prove that I had some emotional substance, you know, and that I knew what I was doing, you know, when in fact, I didn't have a clue.

♪ Before the day I met you ♪ Life was so unkind ♪ You're the key to my peace of mind ♪ ♪ 'Cause you make me feel ♪ You make me feel ♪ You make me feel ♪ ♪ Like a natural woman ♪ Woman ♪ When my soul was in the lost and found ♪ Yentob: Since you've been in America, you seem to have picked up on a lot of the idioms and themes of American music and American culture.

How has that happened?

There's a fly floating around in my milk and he's -- it's a foreign body in it, you see, And he's getting a lot of milk.

That's kind of how I feel.

A foreign body here, and I just -- I couldn't help but soak it up.

You know.

Yentob: Again, going back to the difficult period for a second when we just talked about how -- Oh, when weren't they, Alan, when weren't they?

But I was just thinking when I saw you again at that time, you were always an estate across the -- It was white powder and white milk.

I remember your diet at that time.

And green, green and red peppers.

That's about what I ate.

Sort of probably the diet of a mugwump.

Oh, you saw me in a good time.

You saw me in a good time.

I'll have you know.

You were rehabilitating at that point?

No, no, no, no.

I was just starting my great voyage.

[ Laughs ] But the voyage ended in the mid '70s when Bowie fled the excess of America and moved to Germany.

The music turned dramatically away from its American roots.

Away, it seemed, from rock altogether.

♪♪ ♪ Sula vie milejo ♪ Mmm-omm Well, the last time you saw me or were with me, it was in Los Angeles, wasn't it?

One of my, um... One of the worst periods, I think, in my life I think.

I got into a lot of emotional and spiritual trouble there.

And so I decided to split and discover new ways of relating to the music business per se.

I wasn't sure exactly what I was in it for anymore.

Yentob: Was there a clash between the sort of materialism, the need to be a rock star, successful, if you like?

Yes, I think very much so.

And as I really didn't want to be one myself, I was living more and more in the style of one of my characters who wanted terrific success because they were all Messiah figures, most of them, either light or dark shadowings.

And so because I -- I really felt that the material aspect was something that had to be done in Los Angeles because it's driven into you.

It's the food of Los Angeles.

Hollywood, rather, not Los Angeles, unfair on Los Angeles.

And so I just packed up everything one day and I moved back to Europe again.

♪♪ ♪♪ Yentob: In Berlin, Bowie and his collaborator Brian Eno produced three albums in which he boldly went where other rock stars hesitated -- into the outer reaches of minimalism.

I noticed that the music now is more, more daring, more adventurous, more fractured.

Is there a danger that by following your instinct, your aesthetic instincts, if you like your artistic instinct, that you will jeopardize that, you know, the money and the good life?

No s * *t, Sherlock.

[ Laughs ] No s * *t, Sherlock.

[ Laughs ] Yes, I think -- Yes, I think I'd rather sort of hit that one in the head at the moment.

And it's quite a relief, really.

I feel a lot more free in what I do.

It just needed -- It just needed a positive decision to only do what I want to do and not do things for the sake of what either David Bowie or whoever I was playing last time, Thin White Duke or something, was expected to do.

Yentob: In Brian Eno, Bowie found a musical partner whose passion for experiment easily matched his own.

What did you see in Brian that you felt you... Somebody who really understood the illogic of putting together different systems.

I mean, I'd read quite a bit about him.

I hadn't known him terribly well.

I'd worked with him a couple of times, actually, when he was in Roxy Music.

And the first time I met him, I thought he looked more effeminate than I did.

Really quite a shock.

He had incredibly long hair.

That's a plus for you I take it, was it?

I was rather jealous, actually.

And he was -- I believe he was wearing leopard skin, leopard skin and high-heel shoes.

Not the professor that we know today.

He was an alarmingly glamorous young man.

But minimalism was in his soul, was it?

Well, yeah.

I mean, he'd stumbled into rock music.

I mean, sort of -- I made a -- I charged at it.

I was right on target.

I knew exactly -- I wanted to be a white Little Richard at eight, or at least his sax player.

But Brian sort of just ended up in a rock band when he was busy doing something else, as Lennon would have said, and he'd sort of applied -- what he just did, he just applied all the things that he'd learned at art school, really.

And I thought, "Well, let's see if we can f * *k up this part of culture as well."

Your ambitions were that, you know, whatever they are, you know, whatever value judgments one makes about them are about drawing into the world of popular music.

Even however you transform them, they are, you know, big ideas.

Big thoughts.

Yeah.

And you even acknowledge a certain, you know, "Yes, I'm pretentious and wild."

Yes, of course.

I mean, Brian and I decided in the late '70s that we had developed a new school of pretension.

I mean, that was our thing at the time.

We put it about a lot.

I mean, we gave it the title.

Other people may bandy it around, but we knew from '78, '79 that we were the new school of pretension and we saw nothing wrong with that.

We rather saw pretension or the idea of pretending the playfulness that has any kind of evocative kind of feeling in art, actually something to go for.

[ "Heroes" playing ] ♪ I ♪ I wish you could swim ♪ Like the dolphins ♪ Like dolphins can swim ♪ Though nothing ♪ Nothing will keep us together ♪ ♪ We can beat them ♪ For ever and ever ♪ Oh, we can be heroes ♪ Just for one day ♪♪ ♪♪ ♪♪ ♪ I ♪ I will be king ♪ And you ♪ You will be queen ♪ Though nothing ♪ Will drive them away ♪ We can be heroes ♪ Just for one day ♪ We can be us ♪ Just for one day ♪♪ How have you -- You've been very versatile in using your voice.

How have you gone about that?

I think, again, I didn't have one role model when I was younger.

How did I want to sing?

I wasn't really sure.

I wasn't that comfortable as a singer because I was never that sure that my voice was really that good at any level.

But I knew that I could probably project a character or an emotion, or I could tell the story with my voice if I could find the right tenor for it.

But again, I was influenced on one part by Little Richard, on the other part by people like Tony Newley, Scott Walker, Elvis Presley, Jacques Brel, and I -- I knew that I was none of those.

So I thought the best thing for me to do was just sort of use different stylings for different songs.

And it seemed to make sense as I got more and more into when I did this work that that's also how I wrote and it's how I did everything.

It was a question of some rather mutant eclecticism going on.

That's kind of what I did and that's what I did well, and it's what I really enjoyed.

I guess there's a kind of a voice in there somewhere.

I think songs like "Wild is the Wind" is probably as near to a real -- a real voice.

♪♪ ♪ Love me, love me, love me, love me ♪ ♪ Say you do ♪♪ ♪ Let me fly away with you ♪♪ ♪ For my love is like the wind ♪ And wild is the wind ♪ Wild is the wind ♪ You touch me ♪♪ ♪ I hear the sound of mandolins ♪ ♪♪ ♪ You ♪ Kiss me ♪ Oh, with your kiss, my life begins ♪ ♪ You're spring to me ♪ All things to me ♪ Don't you know you're life itself?

♪ ♪♪ I'm no longer looking for a voice.

I mean, I'm quite happy with the way that I work.

You've got such a repertoire.

Why should you worry?

It's kind of like I have a palette of things that I can draw from and use, you know?

And funnily enough, I now see that some of them are actually mine and I'm reusing techniques and processes that, you know, I've used many times before.

And they're really -- it's all really, really interesting and useful to put work together like that now.

[ "Let's Dance" plays ] ♪♪ Yentob: In the early '80s, Bowie embarked on what was, for many, his most startling switch of tack -- a massively successful assault on mainstream pop.

♪ Let's dance ♪ Put on your red shoes and dance the blues ♪ Ladies and gentlemen, Mr. David Bowie.

[ Applause ] Can I sit down here?

No, I can't.

I'll sit here then.

About two days ago, EMI Records phoned me up in Australia and said would I like to take a 25-hour flight back, come and sit in a room with 75 journalists?

♪ Put on your red shoes and dance the blues ♪ ♪ Let's dance ♪ To the song they're playing on the radio ♪ ♪ Let's sway ♪ While color lights up your face ♪ ♪ Let's sway ♪ Sway through the crowd to an empty space ♪ ♪ If you say run, I'll run with you ♪ ♪ If you say hide, we'll hide Up until '83, I'd been considered what I guess people would think of as a "major cult" artist.

I had my own very tight, loyal following and it had been at one continual level for quite a few years since the mid '70s.

And I was happy enough in that particular area.

The album that I did, "Let's Dance," had this single on, "Let's Dance," which just a phenomenal business and put me in an entirely different orbit.

And I was suddenly working with an audience that consisted not only of my older fans but people who I kind of quickly realized over those couple of years, '83, '84, probably had more Phil Collins albums in their collection than, say, Velvet Underground.

♪ I'm such a mess without my little China girl ♪ ♪ Wake up in the morning ♪ Where's my little China girl?

♪ At a commercial level, I sold, for instance, an awful lot of albums with work that I now feel was probably very inferior.

I drew more people to concerts than I'd ever drawn before.

So at that level, it was considered a commercial success right through to the point where I really wanted to just stop writing and singing and recording.

It was still incredibly popular, but artistically and aesthetically it was -- it was probably my lowest point.

♪ Little China girl ♪ Oh, oh, oh, oh-oh ♪ Little China girl ♪ Oh, oh, oh, oh-oh For me, what the problem is, is that I really liked the money I was making from the touring, and it seemed obvious that the way that you make money is give people what they want.

And so I started giving people what they wanted.

And the downside of that is that I think it just dried me up as an artist completely because I wasn't used to doing that.

What I'm used to doing is being very stubborn, obscure, confrontational in my own indulgent way and enjoying every second of it, and all that had suddenly disappeared.

[ "Tin Machine" plays ] ♪ Tin machine, tin machine ♪ Take me anywhere ♪ Somewhere without alcohol ♪ Or goons with muddy hair ♪ Tin machine ♪ Tin machine ♪ Tin machine, tin machine Yentob: Bowie's answer was indeed confrontational, enjoyable for some, indulgent to others.

♪ The preachers and their past ♪ Tin machine ♪ Tin machine ♪ Tin machine Yentob: "Tin Machine" was a noisy, back-to-basics band in which Bowie played the part of one of the boys.

♪ There's mindless maggot glare ♪ ♪ Working horrors-humping Tories ♪ ♪ Spittle on their chins ♪ Carving up my children's future ♪ ♪ Read 'em, pal, and grin ♪ Raging, raging, raging ♪ Burning in my room ♪ Come on and get a good idea ♪ Come on and get it soon ♪ I'm waiting on the fire escape ♪ ♪ I'm not exactly well ♪ I'm neither red nor black nor white ♪ ♪ I'm gray and blown to hell It was a question of finding the right kind of music that really didn't have too much orchestration about it and the easiest kind of music to become free on because it only has 2 or 3 chords in, you know?

It's rock 'n' roll.

Otherwise, if it started getting too corny and arranged, it wouldn't be anything like what we wanted to do because we wanted to put our own individual personalities into what we were playing and it was very important it was -- the structure was as loose as possible so that everybody could improvise to a certain extent on what we were doing.

A lot of what I do is in fact very simple.

It's just that my choices are very different to other people.

I think if there's any continuity about what I do, it's that we live and I have always felt that we've lived in a philosophic area of fragmentation that we don't -- that absolutes never were convincing to me.

This is the way I do cut-ups.

I don't know if it's like the way Brion Gysin does his or Burroughs does his.

I don't know.

But this is the way I do.

What I've used it for more than anything else is igniting anything that might be in my imagination.

And it can often come out with.

Very interesting attitudes to look into.

I tried doing it with diaries and things, and I was finding out amazing things about me and what I'd done and where I was going.

And a lot of the things that I'd done, it seemed that it would predict things about the future or tell me a lot about the past.

It's really quite an astonishing thing.

I suppose it's a very Western tarot.

I don't know.

Anyway, let's see what happens.

♪ Cassius Clay, if you want it ♪ Boys, get it here thing ♪ Scream out of the line ♪ You say that I want you ♪ Anyone out there anytime ♪ A tres butch little number whines ♪ ♪ "Hey, gorgeous, I need you" ♪ When it's good, it's really good ♪ ♪ When it's bad, I go to pieces ♪ ♪ If you want it, boys, get it here, thing ♪ When we were in Los Angeles in '74 or whatever it was, you were still using that technique of cut-ups.

Do you still use it or do you do?

Yeah.

Yeah.

Increasingly so, to a great extent on "Outside," even, say, on the new album, "Earthling."

If you put 3 or 4 disassociated ideas together and created awkward relationships with them, the unconscious intelligence that comes from that, those pairings is really quite startling sometimes, quite... quite -- quite provocative.

A friend of mine in San Francisco developed a program for me on the computer, which enables me to do it really quickly.

So instead of going through the laborious process of...

Cutting things up.

...you use your computer.

And you can work with far more material.

So I'll take articles out of newspapers, poems that I've written, pieces of other people's books and put them all into this little warehouse, this container of information and then hit the random button and it'll randomize everything and I'll get reams of papers back out of it with interesting ideas.

And then I'll either take sentences verbatim as it spews them out or there might be something within a sentence which triggers off an idea.

That's often -- That's another use of it.

♪♪ ♪♪ ♪ Hallo, spaceboy ♪ You're sleepy now ♪ Your silhouette is so stationary ♪ ♪ You're released but your custody calls ♪ ♪ And I want to be free ♪ Don't you want to be free?

♪ Do you like girls or boys?

♪ It's confusing these days ♪ But Moondust will cover you ♪ Cover you ♪ This chaos is killing me ♪♪ ♪ Bye-bye, love ♪♪ ♪ Bye-bye, love ♪♪ ♪ Bye-bye, love ♪♪ ♪ Bye-bye, love So Bowie at 50, then, not -- you're not intimidated by that.

What about Bowie the pop star of 50, 55, 60?

I'm really starting to relish that situation.

I'm enjoying being a pop star.

I like it.

It's a lot of fun, especially after this last year because we've been working live with my band.

More than a band, I mean, for me, they're probably the most enjoyable set of musicians that I've worked with, both in their talents and as people.

The greatest fun and satisfaction that I've had with a band since The Spiders.

They really are.

I think they're just absolutely tremendous.

♪♪ ♪ Steely resolve is falling from me ♪ ♪ My poor soul ♪ All bruised passivity ♪ All your regrets ♪ Ride rough-shod over me ♪ I'm so glad ♪ That we're strangers when we meet ♪ ♪ I'm so thankful ♪ That we're strangers when we meet ♪ ♪ I'm in clover ♪ For we're strangers when we meet ♪ ♪ Heel head over ♪ For we're strangers when we meet ♪ Whatever I do, I get drunk on it.

I do tend to do that.

I live in excess of myself most of the time.

And do you store away those obsessions for another day and bring them back in or do you discard them after?

I think they're recurrent.

I don't think anything that I get truly passionate about ever leaves me.

I mean, it's always -- it'll show itself.

I'll recycle a motif or a method of working maybe, or a process.

And it just seems that the older one gets, you develop a kind of almost an armory of styles and devices because I'm not -- I have no style loyalty at all.

I just pick and choose what I believe will work best for the job that I want to do.

So who are you writing for now?

What about -- You say you're a communicator.

Me.

You say you're a communicator.

Me.

You're only communicating with yourself?

I write for me.

Well, I am fundamentally no different from anybody else.

And if I'm writing something that's really exciting me, there has to be somebody else that likes it.

♪♪ ♪ Gorgeous girls are bound to meet ♪ ♪ To talk of stars and kings and feet ♪ ♪ Through the chromosomes of space and time ♪ ♪ Me, I'm fast like bad infection ♪ ♪ Gasping for my resurrection ♪ Swear to me in times of war and stress ♪ ♪ Telling lies ♪ I'm a visionary ♪ Ooh, I'm a visionary ♪ Feels like something's gonna happen this year ♪ ♪ Telling lies ♪ I'm a visionary ♪ Ooh, I'm a visionary ♪ Feels like something's gonna happen this year ♪ ♪♪ ♪♪ ♪♪ [ Computer beeps ]