De morfine doet zijn werk
Ik zit op een stoel, mijn moeder ligt op bed
En de morfine doet zijn werk
Haar tijd is voorbij, maar nog niet helemaal
Voor dood gaan is ze net nog iets te sterk
Toen ze me zei dat ze het op wou geven
Wist ze dat zeker en ik was er nog niet aan toe
Want ze hecht altijd zo koppig aan het leven
nu zei ze "ach joh laat maar, ik heb geen zin meer ik ben moe"
Ik zit op een stoel en mijn moeder ligt op bed
Buiten is de zon net op gegaan
Ik kijk naar haar handen, versleten, opgezet
Ze heeft haar leven lang het huishouden gedaan
Mijn moeder is nog van de generatie vrouwen
Van voor de oorlog en van een mens krijgt niks cadeau
werd ontslagen destijds toen ze ging trouwen
Maar dat gold voor alle vrouwen toen Harrie, dat was toen eenmaal zo
Ik zit op een stoel en mijn moeder ligt op bed
Haar borst gaat rustig op en neer
Ze is er heel mijn leven lang altijd voor mij geweest
Nog even en dan is ze er niet meer
Toch weet ze me zelfs nu nog troost te geven
laat me zien aan het eind van haar bestaan
een mens zielsveel kan houden van het leven
Maar aan het eind klaarblijkelijk ook in staat is rustig dood te gaan
Ik zit op een stoel, mijn moeder ligt op bed
En de morfine doet zijn werk
Ze is bijna daar waar ze graag wezen wil
Maar voor dood gaan is ze net nog iets te sterk
En de morfine doet zijn werk
The morphine does its job
I’m sitting on a chair, my mother lies in bed
And the morphine does its job
Her time to go has come, but not quite yet
For dying she is still a bit too strong
When she said she was ready to surrender
She was sure and I, I tried my best
She had embraced her life so stubbornly and tender
But now she said “Nevermind dear, I am tired, time to rest.”
I’m sitting on a chair, my mother lies in bed
Outside I can see the sun’s come up
I look at her hands, rough and bony, she’s had
A life time of cleaning and regret
My mother’s from a tough-ass generation
From before the war and earn before you spend
She got fired right after getting married
But that was happening to all the girls then, just the way things went.
I’m sitting on a chair, my mother lies in bed
I suppress another guilty yawn
She’s been there for me my entire God damn life
A little while longer, and she’ll be gone.
Yet still she knows how to give me comfort
And shows me in her final days
That someone can love life so dearly
But none the less die calmly, a peaceful final phase
I’m sitting on a chair, my mother lies in bed
And the morphine does its job
There is nothing wrong with where she wants to be
But for dying she’s still a bit too strong
And the morphine does its job
Translation by Benne van der Velde
“Harrie Jekkers, born Hendricus Theodorus Jekkers on July 1, 1951, in The Hague, Netherlands, stands as a beloved figure in Dutch entertainment, blending sharp wit, heartfelt songwriting, and a deep connection to his roots. Over a career spanning more than four decades, he has transitioned from a reluctant teacher to a celebrated cabaret artist, singer, and performer, leaving an indelible mark on Dutch culture through his humorous observations and poignant lyrics. Best known for his time with the band ‘t Klein Orkest and hits like “O, o, Den Haag” and “Over de muur,” Jekkers has captured the spirit of everyday life, politics, and personal reflection, earning him a dedicated following and critical acclaim.
His journey reflects the resilience of a working-class upbringing, evolving into a voice that resonates across generations. With multiple solo shows, children’s musicals, and a recent announcement of retirement in 2026, Jekkers continues to perform to sold-out audiences, proving his timeless appeal. As he approaches his 75th birthday, his decision to step away on a high note underscores a career built on authenticity and passion, making him not just an entertainer, but a cultural touchstone for the Netherlands.
Throughout his career, Jekkers has produced a rich catalog of works that span music, theater, and children’s entertainment. His solo albums, such as “Yoghurt met banaan” (1988) and “Mijn ikken” (1997)—which included the enduring “Ik hou van mij,” later covered by artist Tabitha in 2020—showcase his talent for introspective songwriting. Cabaret programs like “Het gelijk van de koffietent” (1990) and “Met een goudvis naar zee” (1992) highlighted his comedic prowess, blending humor with deeper themes of identity and society.
Achievements abound, from winning the prestigious Annie M.G. Schmidt Prize in 1991 for “Terug bij af” to the 2017-2019 reunion tour of ‘t Klein Orkest, titled “Later is allang begonnen en vroeger komt nog één keer terug.” Children’s musicals such as “De club van lelijke kinderen” (2004) and “De snoepwinkel van Zevensloten” (2007) extended his reach to younger audiences. In 2022, The Hague honored him by naming the square in front of the Koninklijke Schouwburg the Harrie Jekkersplein, a testament to his local impact.
In recent years, Jekkers has maintained a strong presence in Dutch theater, with his show “Achter de duinen” running for four years to packed houses, reflecting on his Hague youth. His latest production, “In mijn liedjes kan ik wonen,” premiered in 2024 and has been extended into 2025 and 2026, featuring a musical autobiography interwoven with influences from other artists. This program, performed as Sunday matinees at the Koninklijke Schouwburg, has drawn enthusiastic crowds, underscoring his enduring popularity.
However, in September 2025, Jekkers announced his retirement, set for July 2026 after his final performance on July 12, coinciding with his 75th birthday. His management stated he wishes to “stop at his peak,” a decision that has sparked media coverage and fan tributes. Social media buzz, including posts from outlets like NOS and RTL Boulevard, highlights the bittersweet nature of this farewell, with many celebrating his contributions while lamenting the end of an era.
Jekkers’ impact on Dutch cabaret and music is profound, inspiring a generation with his blend of satire and sincerity. Songs like “O, o, Den Haag” have become cultural staples, fostering regional pride, while his theater work has elevated the art form’s accessibility. His influence extends to contemporary artists who cover his tracks, ensuring his voice persists.
As he retires, tributes from peers and fans affirm his role in shaping Dutch entertainment. Post-retirement, his works will likely continue through recordings and revivals, cementing a legacy of laughter, reflection, and unwavering authenticity.”
Source: this lovely article on Mabumbe!
