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You could do all that woo-oo-ing the old-fashioned way with fuzz and overdrive and maybe a compressor, but it's certainly easier with a E-bow. The problem with the feedback method is getting it to respond the same way every time.
I did have an ebow at that gig (in fact, in a masterstroke of uncoordination I knocked it onto the floor and destroyed it during the last song of that set) But I think for this song, an ebow sounds very tame. The joy of Fripp's part is that it sounds like it's barely being kept in check.
Bandcamp
Spotify, Apple et al
Of course, if getting endless sustain reliably every time is more important than the "barely-being-kept-in-check-ness", an eBow will get you most of the way there.
Don't talk politics and don't throw stones. Your royal highnesses.
See here for more background:
https://originalfuzz.com/blogs/fuzz/84621252-how-robert-fripp-recorded-the-guitar-line-on-david-bowies-heroes
Great on bass too. An E-bow can be very useful for adding texture and dynamics to a recording, or 'unlocking your creativity' if need be. Just chuck it through a load of phase and flange and delay and you can have an album in no time!
Don't talk politics and don't throw stones. Your royal highnesses.
As for playing heroes with one, this works:
I can finally bin the kazoo.
My partner (a huge Queen fan but I love her anyway) asked me what Mick was using, decided I should have one and got me one for my next birthday.
But if you have a small child, keep it out of their reach. Not because it will harm them, but if it gets dropped they are never quite the same - if they are dropped repeatedly, like mine, they can go intermittent... like mine. And sadly, opening them up to fix them isn't an option.