This track is based on "The Nile song".

Standing by the World Expo of Cosmic Nihilism, she spread her wings to fly for a while, farther and higher and further away from a cosmos that is distinctly hostile or indifferent to humanity. But this cosmic nihilism isn’t a challenge to which humanity has to rise in order to transcend the possibilities of nihilism. We can see Roger and David as making that claim more or less explicitly: they represent the best of psycho-fiction, defining what we can and cannot do when faced with the inevitability of alienation by means of rock music. So many desires that humanity might have are made realizable only through psycho-fiction, or they become the promises of psycho-fiction rather than the promises psycho-fiction makes true.

After such an epiphany, "Ummagumma"'s dystopic future feels a little too close for comfort; the fear of an onset of sexual or agonic nihilism, put into play by a cosmic sense of the deterministic nihilism that would seem to confront every relation traced from above, off-stage, is palpable and clear. Both more and less than a Pink Floyd album, the creative problem Ummagumma proposes is exactly how to account for this world, this variation of the void, that makes it at once different from other worlds and merely one of those with which we contend.

A great deal of that was subsequently expanded upon in the follow-up album, "Ummagumma for Kids", whose name is an astrological answer to the standard leitmotif query of an initial LP: Who Is Pink? Vaguely unifying six tracks from four musicians, "Ummagumma for Kids" transformed space rock into something astoundingly stinkier than before. There, did the perverted potential of a psycho-fictional catharsis present the emergent symbols as the means of liberation from determinism itself, the same gimmick of the old albums, of the Floyd name, of the Floyd walls lining the walls of bourgeois homes?