Released: August 21, 1990

Featuring: Radio-Symphonie-Orchester Berlin Scorpions

Songwriter: Roger Waters

Producer: Nick Griffiths Roger Waters

"Hammer, Hammer, Hammer,...."
[Pink:] "Einse, svei, drei, alle"

Oooo, You cannot reach me now
Oooo, No matter how you try
Goodbye cruel world, it's over
Walk on by

Sitting in a bunker
Here behind my wall
Waiting for the worms to come
In perfect isolation
Here behind my wall
Waiting for the worms to come

[Man using megaphone:] "We're waiting to succeed and going to convene outside Brixton Town Hall where we're going to be...."
Waiting, to cut out the deadwood
Waiting, to clean up the city
Waiting, to follow the worms
Waiting, to put on a black shirt
Waiting, to weed out the weaklings
Waiting, to smash in their windows
And kick in their doors
Waiting, for the final solution to strengthen the strain
Waiting, to follow the worms
Waiting, to turn on the showers and fire the ovens
Waiting, for the queers and the coons
And the Reds and the Jews
Waiting, to follow the worms

Would you like to see Britannia
Rule again, my friend?
All you have to do is follow the worms
Would you like to send our colored cousins
Home again, my friend?
All you need to do is follow the worms
"Hammer, Hammer, Hammer, ..."
[Man with Megaphone:] "The worms will convene outside Brixton Bus Station. We'll be moving along at about 12 o'clock down Stockwell Road .... Abbot's Road .... twelve minutes to three we'll be moving along Lambeth Road towards Vauxhall Bridge. Now when we get to the other side of Vauxhall Bridge we're in Westminster Borough area. It's quite possible we may encounter some ... by the way we go...."

Roger Waters

Roger Waters, the lyrical mastermind behind most of Pink Floyd’s work in the 1970s, was the band’s bassist, vocalist and, at one point, its front man. He solidified himself as one of music’s greatest poets with Animals, a picture of modern society metaphorized as animals, and The Wall, an epic rock opera that follows a rockstar’s declining mental state and disillusionment with the world around him.

After leaving Pink Floyd, he went on to create even more works that geared towards geopolitical themes, with the electrifying Radio K.A.O.S. and the provoking Amused to Death.